B227a 


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Banks,  Emma  Dunning. 

Aunt  Rhody*  s dream.. 

Contents 

Aunt  Rhody1  s dream. 
Flibbertygibbet  and  me.  Tit 
for  tat. 

A legend  of  Rose  Sunday. 

Money  musk.  Memorial  day  at 
the  farm. 

Mother’s  Easter  scarf. 

One  Thanksgiving  Day  out  West. 
Quart  of  milk;  and.  For  the 
Slumber  Islands,  ho. 

A Russian  Christmas. 

Squeeze  in  the  dark. 


Digitized  by  the  Internet  Archive 
in  2016 


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Aunt  Rhody’s  Dream 


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Hymn  by  W.  H.  Monk.  While  particularly 
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At  the  Golden  Gates.  $1.00.  is  min.  Any 
number.  Poem  by  Father  Ryan.  As  a per- 
son kneels  at  the  Golden  Gates  he  is  told  of 
a day  when  the  soul  shall  reach  great  heights. 
23  photographs. 

Blacksmith’s  Story.  $.25.  30  min.  Poem  bv 

F.  Olive.  First  husband  reported  killed  in 
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husband  appears  and  woman  goes  with  him, 
taking  away  second  husband’s  child.  17 
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morous pantomime,  depicting  boy  departing, 
having  been  rejected  by  girl,  who  relents  on 
his  return.  Pathetic  prose  selection,  bv  Homer 
Greene,  tells  how  a mischievous  scholar  saves 
from  sudden  flood  his  teacher,  and  of  his  own 
narrow  escape.  Both  in  one  leaflet.  5 photos. 

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Courtin’,  .The.  $.35.  J.  R.  Lowell.  Panto- 
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2f.  Perhaps  the  greatest  Yankee  dialect 
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Gipsy.”  George  Eliot.  Pantomimed  Poem, 
with  Lesson -Talk.  10  min.  if.  Shortly  be- 
fore day  set  for  marriage  to  Spanish  nobleman, 
gipsy  girl,  ignorant  of  her  birth,  yields  to  her 
inclination  to  dance  in  market-place;  and, 
while  there,  meets  her  gipsy  chief  father,  and 
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and  was  buried.  Escaping  from  tomb  she, 
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court  awarded  her.  x 2 photographs. 

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Weatherly.  A vision  of  the  New  Jerusalem, 
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Jesus,  Lover  of  My  Soul.  $.50.  10  min.  1 to 

i2f.  This  famous  hymn  illustrated  by  poses 
grouped  in  artistic  design,  printed  in  colored 
ink  on  heavy  enameled  paper,  16  x 23  inches, 
suitable  for  framing;  ornament  for  home, 
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Last  Rose  of  Summer.  $.35.  to  min.  1 or 
many  f.  Poem  by  T.  Moore.  1 2 photos. 

Lead,  Kindly  Light.  $.25.  t or  many  f.  Car- 
dinal Newman’s  great  hymn.  Cardinal’s  por- 
trait. 9 photographs. 

I.eah,  the  Forsaken.  $.35.  Curse  Scene.  5 
min.  Jewish  costume.  Jewish  girl,  betrayed 
and  cast  off  by  gentile  lover,  is  drawn  back 
to  him;  on  passing  a church  she  listens  to 
the  music,  but  her  softened  heart  turns  to 
stone  and  her  words  to  curses  when  she  learns 
the  wedding  music  is  for  him.  11  photos. 


PANTOMIMES  AND  ILLUSTRATED  READINGS  CONTINUED  ON  3d  COYER  PAGE 


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AUNT  RHODY'S  DREAM. 

i. 

WAL,  yes,  we  quarrelled  eout  and  eout,  old  Deacon  Jones  and  me, 
v ▼ Abeout  which  had  the  better  right,  eour  heavenly  hum  tew  see 
Tew  tell  the  story  fair  an’  square,  this  was  abeout  the  gist : 

The  deacon  was  a Baptist  man,  an’  I was  Methodist. 

We’d  neighbors  been  for  many  a year,  an’  never  had  a word; 

But  when  he  said,  I “ must  be  washed,”  old  Adam  in  me  stirred. 

Tew  tell  me,  who  had  been  so  true  to  all  eour  church’s  creed 
An’  never,  when  I was  a gal,  wore  bracelet,  ring  or  bead, 

II. 

AVho  held  a bright  blue  dress  a sin,  a pink  one  wusser  yet; 

When  natur’  tried  my  hair  to  curl,  with  soap  my  locks  did  wet 
Ontel  they  laid  areound  my  head  as  smooth  an’ sleek  as  jet, 

An’  never  danced  nor  shook  my  foot  to  please  the  devil  yet 

An7  yet  that  man  said,  eout  an’  eout,  I couldn’t  be  forgiven 
Unless  my  sins  were— Baptist-washed,  an’  couldn’t  go  to  heaven. 

It  riled  me  some,  I must  confess,  I got  as  mad  as  fire 
An  sed  more  than  a Christian  should,  in  Methodistic  ire. 

III. 

He’d  happened  in  tew  tea,  an’  so  I gave  it  to  him— hot. 

An’  said  some  things  ’beout  washin’  clean  I guess  he  ne’er  forgot. 

He  scowled  at  me,  I glared  at  him;  he  raised  his  fist  and,  bang! 

It  fell  upon  the  table  leaf;  heow  cups  and  sassers  rang! 

1 raised  my  biggest,  strongest  voice,  I gave  it  to  him  so 
Yeou  sneakin’  Baptist  hypocrite,  neow  take  yeour  hat  an’  go!” 

I hild  his  hat,  he  snatched  it  up  an’  in  his  awful  ire 

Sot  it  deown  in  some  mince-pie  meat  a-standin’  near  the  fire. 

IV. 

The  ’lasses  in  that  mince-pie  meat  wa’n’t  stirred  as  ’torter  been 
An  tew  the  creown  of  that  silk  hat  it  stuck  as  clus  as  sin. 


M OF  ILL  LIB. 


134 


EMMA  DUNNING  BANKS'S 


The  deacon  groaned,  as  much’s  to  say,  “ Oh,  quick!  some  water  bring;” 
I was  tew  mad;  I turned  my  back,  an’  this  began  tew  sing: 

“ Oh,  Baptist,  Baptist  wuz  yeou  born  an’  Baptist  will  yeou  die, 

But  why — baptize — yeour — hat — my  friend— in — Meth-o-dist  mince- 
pie?” 

Jest  then  the  door  was  opened  wide,  a gentle  voice  said  “ Why!  ” 

I stopped  my  song— 1 wished  that  hat  wa’n’t  daubed  with  that  mince-pie 

V. 

’Twas  parson’s  wife!  She  cleaned  his  hat;  I felt  most  streaked  small 
Tew  think  she  caught  me  fightin’  with  a neighbor  come  tew  call. 

We  told  eour  story,  an’  she  said : “ There’s  one  straight  road  tew  heaven , 
Dew  right  in  word,  an’  truth,  an’  deed,  an’  yeou  will  all  be  given 
A place  with  God,  no  matter  what  yeour  church  creeds  here  below, 

Fer  sake  of  Him  whose  blood  was  shed,  tew  wash  yeour  sins  like  snow.” 
Wal,  when  they’d  gone  1 thought  abeout  the  churches  all  areound, 

An’  reckoned  that  the  Methodist  was  surely  safe  an’  sound. 

VI. 

Episcopuls  they  ’low  tew  much  fer  dancin’  an’  fine  dress, 

An’  Catholics  they  give  their  priest  God’s  place  when  they  confess. 

Say  what  yeou  will  ’beout  punishment,  I think  we  might  as  well 
Keep  with  us,  on  eour  earthward  way,  a hullsum  fear  of  hell. 

Some  young  uns  dew  their  duty  from  a sense  that  sin  is  wrong ; 

An’  others  need  the  rod  laid  on,  at  times  most  powerful  strong. 

Wal,  when  1 thought  the  matter  o’er  1 straightened  up  with  pride, 

An’  reckoned  that  the  Methodists  wuz  on  the  safest  side. 

VII. 

That  night  I had  a curus  dream . I tho’t  my  race  wuz  run, 

An’  I had  started  off  to  find  my  home  in  heaven  won. 

I found  myself  in  a great  hall  with  doors  all  on  one  side, 

An’  people  pourin’  in  ’em  all ; I looked  an’  could  hev  cried. 

The  biggest  door  wuz  “ ’piscopul  ” with  winders  of  stained  glass, 

An’  oh ! the  creowds  of  dressy  folks  that  in  them  doors  did  pass ! 

The  next  one  wuz  the  Baptist — an’  the  deacon  jest  went  in; 

Some  churches  hed  big  doors,  some  small;  I thought  that  eours  mus. 


When  all  at  once  I felt  afraid,  the  doors  all  grew  so  small. 

“ Oh,  dear,”  I cried,  “ what  shall  I do,  eour  door  ain’t  here  at  all!  ” 
When  in  the  farthest  corner  I a leetle  door  did  spy ; 

I crep  up  clus — ’twas  Methodist ; an’  then  I hed  tew  cry. 


ORIGINAL  RECITATIONS  AND  LESS  ON- TALES.  135 

I pulled  the  bell,  the  door  was  oped,  an’  then  I went  inside, 

An’  “ Hallelujah  tew  the  Lord!  salvation’s  free!  ” I cried. 

Good  people  all,  ef  yeou  dew  right,  ne’er  be  afraid  of  doom ; 

Yeour  creed  won’t  save  yeou,  fer  them  doors  all  opened  in  one  room! 


LESSON-TALK. 

This  is  most  emphatically  a character-selection,  and  demands  good 
characterization  in  its  rendering.  It  should  also  be  given  in  costume. 
A plain  black  calico  skirt,  made  long  enough  in  the  back  to  allow 
the  wearer  to  stoop  considerably  forward,  may  be  slipped  over  the  or- 
dinary dress.  A wide-bordered  cap,  an  old-fashioned  bonnet  and  shawl, 
black  gloves  and  blue  spectacles  are  also  necessary,  and  last,  but  not 
least,  a good-sized  cotton  umbrella.  A wig  may  be  dispensed  with  if 
the  cap  be  edged  with  a wide  box-plaited  ruffle  made  double,  and  pulled 
well  over  the  forehead.  The  shawl  pinned  on,  the  bonnet  and  cap- 
strings  tied,  the  blue  glasses  adjusted,  and  you  are  ready  to  peep  in 
the  glass  and  have  your  friends  tell  you  that  “ they  would  never  have 
known  you.”  You  may  make  the  facial  change  more  complete  by 
drawing  the  upper  lip  down  and  over  and  under  the  teeth  in  such  a 
way  as  to  appear  actually  toothless.  Assume  a cracked,  quavering, 
tremulous  voice,  and  keep  it  up  throughout  the  selection.  You  are 
now  ready  to  make  your  entrance,  leaning  heavily  upon  your  umbrella, 
and  shuffling  laboriously  along;  just  before  beginning  make  a comical 
obeisance  to  your  audience.  The  success  of  this  selection  depends 
largely  upon  the  expression  with  which  the  words  are  rendered ; action- 
work  has  little  to  do  with  it,  and  there  is  little  action-work  to  do.  The 
cracked  tremor  of  the  aged  voice,  the  frequent  pausing  and  little  hesi- 
tations and  repetitions  of  words,  and  emphatic  nods  of  the  head,  are 
the  most  noticeable  elements  of  the  recitation. 

(1,  2)  A gesture  as  of  touching  one’s  self  on  the  breast  may  be  made 
on  “ I was  Methodist,”  and  a pause  introduced  before  and  after  it,  dur- 
ing which  you  bob  your  head  and  seem  to  wshake  with  pride.  Bring 
down  the  umbrella  with  an  impressive  thump  as  you  say,  “ old  Adam 
in  me  stirred.”  A little  self-satisfied  gesture  as  though  stroking  the  side 
of  the  head  with  the  left  hand  is  permissible  in  line  3,  second  stanza. 

(3)  Raise  the  hand  in  strong  disapproval  and  mock  astonishment  on 
the  words  “ heow  cups  and  sassers  rang.  ” Deliver  line  6 in  a high,  spite- 
ful key,  and  bring  out  the  last  line  with  frequent  pauses  as  though 
convulsed  with  inward  laughter. 

(4)  This  pausing  accompanied  by  mirth  continues  throughout  lines 
1 and  2 of  this  stanza.  The  well-known  air  of  “ Baptist  Pie  ” and  a very 
cracked  soprano  are  used  while  singing  lines  5 and  6,  finishing  the  song 


EMMA  DUNNING  BANKS'S 


136 

with  jerks  and  laughter,  culminating  in  a dry,  convulsive  cackle  con- 
sisting of  a series  of  “ha’s,”  using  the  sound  of  short  a as  in  the  word 
“hat.”  Turn  tp  the  left  as  though  leaving  while  singing  these  lines, 
and  look  back  mockingly  over  the  right  shoulder. 

(5,  6)  A very  humble  spirit  colors  the  utterance  of  lines  1 and  2, 
and  the  advice  given  by  the  minister’s  wife  comes  out  slowly  and  dis- 
tinctly, not  forgetting,  however,  to  keep  up  the  cracked,  wavering 
voice.  The  action  throughout  this  stanza  consists  chiefly  of  the  em- 
phatic bobbing  jerks  of  the  head,  aided,  perhaps,  by  occasional  slight 
conversational  movements  of  the  hand. 

(7)  In  this  stanza  the  gestures  become  more  decided  when  pointing 
out  the  doors.  On  the  words  “oh,  the  creowds  of  dressy  folks,”  lift 
hand  and  head  amazedly,  and  with  strong  disfavor  in  tone  and  action. 
I11  a very  quiet,  humiliated,  resigned  manner,  as  though  owning  some- 
thing sheepishly  and  against  the  will,  say,  “ an’  the  deacon  jest  went  in.” 

(8)  When  delivering  line  2,  there  are  almost  sobs  of  nervousness  and 
fear  in  the  voice.  Give  line  6 in  good,  old-fashioned,  shouting  Methodist 
style,  and  finish  in  a burst  of  the  same  exhortive  eloquence,  as  you 
hobble  off  the  platform. 


ABOU  BEN  ADHEM. 

ABOU  BEN  ADHEM  (may  his  tribe  increase!) 

Awoke  one  night  from  a sweet  dream  of  peace, 
And  saw,  within  the  moonlight  in  his  room, 

Making  it  rich,  and  like  a lily  in  bloom, 

An  angel  writing  in  a book  of  gold. 

Exceeding  peace  had  made  Ben  Adhem  bold, 

And  to  the  presence  in  the  room  he  said, 

“ What  writest  thou  ? ” The  vision  raised  its  head 
And,  with  a look  made  all  of  sweet  accord, 

Answered : “ The  names  of  those  who  love  the  Lord.” 

“ And  is  mine  one?”  said  Abou.  “ Nay,  not  so,” 

Replied  the  angel.  Abou  spoke  more  low 
But  cheerily  still,  and  said : “ I pray  thee,  then, 

Write  me  as  one  that  loves  his  fellow-men.” 

The  angel  wrote  and  vanished.  The  next  night 
It  came  again,  with  a great  wakening  light, 

And  showed  the  names  whom  love  of  God  had  blessed — 
And  lo ! Ben  Adhem’s  name  led  all  the  rest. 


PANTOMIMES  AND  ILLUSTRATED 

Continued  from  Second  Cover  Page 


READINGS 


Listening  Ear  of  Night.  $.25.  io  min.  i or 
many  f Poem  by  E.  H.  Sears.  Christmas 
caroi.  Celestial  choirs  and  angels  fill  the  air 
with  harmonies  which  fall  on  the  “listening 
ear  of  night.'’  Hills  of  Palestine  send  back 
a glad  reply,  while  over  Galilee  comes  a holier 
calm.  7 photographs. 

Lotos-Eaters.  $.50.  30  min.  3f.  Poem  by 

Tennyson.  Grecian  warriors,  returning  from 
Trojan  war,  st9p  at  the  lotos  land,  eat  of  the 
lotos,  become  indolent,  and  lose  desire  to  re- 
turn home.  May  be  given  by  three  girls,  or 
any  number  of  groups  of  three.  Portrait  of 
Tennyson.  Schumann’s  “Slumber  Song” 
given.  1 5 photographs. 

Maud  Muller.  $.25.  to  min.  Poem  bv  Whit- 
tier  Portrait  of  Whittier,  also  cuts  of  his 
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My  Faith  Looks  up  to  Thee.  $.35.  io  min.  i 
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My  Mother’s  Bible.  $.35.  8 min.  Poem  and 

pantomime  by  Mrs.  F.  W.  Pender.  Tells  of 
lessons  learned  from  mother  and  the  love 
daughter  bears  for  mother’s  Bible,  from 
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more  f.  Printed  in  artistic  design  in  two 
colors  on  heavy  enameled  paper,  17  x 25 
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ment for  home,  studio,  Sunday-school,  hall, 
etc.  Pictures  show  how  to  pantomime  the 
hymn  without  other  instruction.  22  photos. 
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many.  Poem  by  S.  Foster  Known  also  as 
S wanee  River.”  Famous  pathetic  negro 
ballad.  1 5 photographs. 

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Kookh.  . Thomas  Moore.  Pantomimed 
Poem,  with  Lesson-Talk.  15  min.  1 or 
many  f.  Persian  myth  of  fallen  angel'  regain- 
ing heaven  by  bringing  from  earth  a tear  of 
repentant  mortal,  io  photographs. 

Poses  Plastioues  for  the  Little  Ones.  No.  1. 
$.25.  Expression  Studies.  30  min.  1*  or 
"ia:?7-  .Pantomime  of  Pleading,  Triumph 
Meditation,  Despair,  Defiance,  Sorrow,  Fright’ 
Dancing,  Secrecy,  Mirth,  Listening,  Watch- 
es- , antommnng  may  be  done  by  one  set 
ot  children  while  singing  is  done  by  another 
set.  1 1 photographs. 

Pro  Patria.  $.35.  Patriotic  Prose  Recitation 
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min.  Revolutionary  War  storv  of  girl  re- 
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daring  horse-back  ride  carrying  orders  from 
Washington  to  Lee  pending  battle  at  Tren- 
ton. 9 photographs. 

Rizpah.  $.25.  15  min.  1 or  many  f.  Poem 

by  L.  Blinn.  Bible  story,  II.  Samuel  xxi 
I71 1 • Mother  guards  from  beasts  and  birds 

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SQUEEZE  IN  THE  DARK 


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COPYRIGHT,  1908,  BY  EDGAR  S.  WERNER 

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The  following:  35  recitations  with  lesson-talks  by  Emma 
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•Aline’s  Love  Song 
•Aunt  Rhody’s  Dream 
•Bridget’s  Mission  Jug 
•Diamond  Cut  Diamond 
•Dot's  Christmas;  or, the  So- 
ber Hat 
Elf-Child 

•Emma  Dunning  Banks’s 
Medley 

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•For  the  Slumber  Islands,  Ho! 
Grandma  Robbins’s  Temper- 
ance Mission 

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Sheridan 

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•Legend  of  Rose  Sunday 
•Legend  of  Van  Bibber’s  Rock 
•Mein  Katrine’s  Brudder  Hans 


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Old,  Old  Story 
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•Spinning-Wheel  Song 
•Squeeze  in  the  Dark 
•Tit  for  Tat 

•Two  Thanksgiving  Dances 


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Organist 


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Charge  of  First  Minnesota  at  Gettysburg 
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ORIGINAL  RECITATIONS  AND  LESSON-TALKS. 


117 


A SQUEEZE  IN  THE  DARK. 

1. 

O H’  swate  Kitty  Galore  was  but  jist  twinty-one, 

When  her  life  as  a young  Irish  widdy  begun* 

Ere  her  crape  was  tuk  off  she  had  beaus  by  the  score- 
Troth!  a merry  blue  eye  had  the  Widdy  Galore. 

. .00.  II. 

Sliwe  she’d  laugh  an’  she’d  talk,  but  she  put  them  all  off 
Till  there  jist  remained  two,  that  she  seemed  not  to  scoff 
^ aith ! they  both  got  so  jealous  it  bothered  her  sore 
But  she  kept  her  eyes  dancin’,  did  Kitty  Galore. 

III. 

Then  she  vowed,  this  good  widdy,  she’d  niver  endure 
* b*  klssed  or  be  huSged,  till  a wife  she  was  shure. 

Twdl  not  hurt  to  be  heedful,  they’ll  prize  me  the  more.” 
Ihen  she  knowingly  winked,  this  bright  Kitty  Galore. 

IV. 

Well,  now,  Sandy  McGee  was  a bit  av  a taze, 

So  he  jumped  out  on  Kate  one  dark  night  with  a squaze. 

, °ch!  she  scolded : “ Who  ami?”  He  then  did  implore  • 

Gan  t your  bright  eyes  rade  darkness,  swate  Kitty  Galore?” 


/>3 


b 


„ ne**  night  came  down  Larry,  to  proffer  his  suit. 
Share  111  fix  him,”  said  Sandy,  “ the  murtherin’  brute.  • 
X II  purtmd  I m a ghost,  an’  I’ll  hide  ’hind  the  door, 

1 11  be  ghost  av  the  husband  av  Kitty  Galore.” 

VI. 

Kate  liked  Larry  O’Finn,  yet  she  vowed  in  her  heart 

So  JnaS  hr6  hat  had  hUgged  her’  she’d  sure  with  him  part. 
So  when  wry  said  “ marry,”  she  looked  on  the  floor. 

When  a voice  behind  her  cried : “ Kitty  Galore ! 

“ rm  the  ghost  av  your  husband,  an’  I tell  you  right  here 
Not  to  marry  wid  Larry;  take  Sandv,  my  dear 

hi,u  the  bes‘.  an’  he’ll  love  yez  far  more.” 
Oh,  ho,  ha  snapped  the  bright  eyes  of  Kitty  Galore. 


ii8 


EMMA  DUNNING  BANKS'S 


VIII. 

“ If  ye’re  Ted,  or  Ted’s  ghost,  then  come  squaze  me  rale  tight.’* 
“ Shure,  I will  thin,”  says  Sandy,  “ but  puff  out  the  light.” 
Out  it  went;  and  he  joyfully  hugged  her  once  more; 

Then  Kate  laughed  : “ Faith,  that  niver  was  Teddy  Galore. 

IX. 

“ That  same  squaze,  I remimber  quite  well  from  last  night;” 
As  she  spoke  she  had  lit,  and  then  turned  up  the  light. 

“ Och,  now,  Sandy  McGee,  jist  make  tracks  for  the  door; 

I can  fale  through  the  darkness,’’  laughed  Kitty  Galore. 


LESSON-TALK. 

The  typical  Irish  character  is,  as  a rule,  best  described  by  the  adjec- 
tive “jolly.”  His  humor  is  rollicking,  merry  and  infectious.  Fill  your- 
self, therefore,  with  animation;  let  the  eyes  sparkle,  the  whole  face 
light  up,  the  form  be  active.  Foreigners,  we  know,  are  prone  to  much 
in  the  way  of  movement;  therefore,  you  may  gesticulate  freely  when- 
ever an  impulse,  guided  by  discretion,  assures  you  that  it  will  aid  your 
description.  Do  not  be  over-strenuous  about  graceful  movements;  if 
somewhat  ludicrous  and  uncouth,  they  will  prove  all  the  more  fitting 
for  the  delivery  of  an  Irish  story,  in  the  Irish  dialect. 

(1)  On  line  3 make  a descending  front  gesture,  right  hand  prone,  be- 
ginning from  the  line  of  the  shoulder,  as  though  designating  the 
mourning  habiliments  of  the  widow.  Combine  this  movement  quickly 
with  the  left  hand  in  a double  but  not  entirely  parallel  gesture,  making 
both  hands  supine  on  the  phrase,  “ beaus  by  the  score.”  Never  make 
these  seemingly  parallel  movements  entirely  so;  allow'  one  hand  always 
to  be  somewhat  in  advance  of  the  other.  Finish  the  stanza  with  a 
significant  nod  and  corresponding  shrug  of  the  shoulders. 

(2)  The  little  pauses  after  “laugh”  and  “talk,”  in  line  1,  fill  inap- 
propriately with  facial  expression,  bringing  the  hands  together  and 
spreading  apart,  as  you  say,  “ put  them  all  off.”  In  line  2,  stretch  the 
first  two  fingers  of  the  left  hand  widely,  and  hold  them  up  in  full  view 
of  the  audience,  while  explaining  that  “ there  just  remained  two  that  she 
seemed  not  to  scoff.”  On  line  3,  give  the  twrn  fingers  (wdiich  have  con- 
tinued to  be  elevated  and  stretched)  a comical  look  and  shake  on  the 
word  “ both.”  Drop  the  gesture,  and  finish  the  stanza  in  a lively  man- 
ner. This  holding  of  the  two  fingers  is  one,  of  the  awkward,  uncouth 
movements  referred  to,  and  if  rightly  managed  will  provoke  laughter. 
Of  course,  the  facial  expression  must  seem  equally  earnest  and  ludicrous. 

(3)  Practice  before  a mirror,  a movement  as  though  hugging  your- 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS. 


ll9 

self  with  both  arms,  which  you  may  use  in  line  2.  A knowing  nod  and 
wink  are  permissible  at  the  close  of  line  3,  and  will  be  explained  while- 
reciting  line  4. 

(4)  Suddenly  push  both  hands  obliquely  to  the  right,  on  the  word 
“ jumped,”  occurring  in  line  2.  Turn  obliquely  to  the  left  on  the  words. 
“Qch,  she  scolded;”  then  to  the  right,  with  both  hands  supinel ^ex- 
tended, during  the  impersonation  of  Sandy  McGee. 

(0)  On  line  2 Sandy  is  again  introduced;  always  in  this  impeffcoha- 
tion  speak  to  the  right,  as  this  character  has  most  to  say.  Frown  as 
you  begin  this  speech.  Rub  the  top  of  the  head  (which  bends  down- 
ward) as  though  in  puzzled  bewilderment  and  thought;  then  let  the 
face  light  up  suddenly,  as  though  the  enigma  was  solved,  before  enun- 
ciating a word  of  line  3.  Make  a vital  gesture  with  right  thumb  when 
pointing  out  his  proposed  hiding-place.  Let  the  last  line  be  strongly 
colored  with  a comical  satisfaction  and  admiration  of  his  own  superior 
wit  and  cunning. 

(6)  Begin  in  a manner  quite  confidential.  The  hugging  gesture,  if 
made  after  a droll  fashion,  may  come  in  whenever  the  word  hugging  is 
used.  The  downward  look  and  glance  behind  in  lines  3 and  4 suggest 
themselves. 

(7)  Now  we  come  again  to  a characterization  of  that  archplotter, 
Sandy  McGee.  Let  the  body  sway  to  the  right,  use  the  aspirate  voice! 
and  blend  earnestness,  eagerness  and  a strong  touch  of  the  ludicrous 
artistically  together  in  this  speech,  which  continues  throughout  the 
first  three  lines  of  the  seventh  stanza.  Render  the  “ Oh,  ho,  ho,”  line  4, 
in  a soft,  sweet,  musical  head-tone,  lingering  long  on  the  last  syllable. 
Let  the  forefinger-tip  of  the  right  hand  come  to  the  lip,  and  also  allow 
the  eyes  to  roll  quickly  to  and  fro,  as  if  to  say : “ I understand,  and  I’ll 
fix  him.” 

(8)  This  begins  with  an  impersonation  of  Kitty;  remember  "to  speak 
to  the  left.  After  the  conjunction  “ but,”  in  line  2,  make  a slight  pause, 
just  long  enough  to  blow,  as  though  “puffing  out  the  light.”  Blow  . 
once  more  (this  time  with  head  to  left)  before  beginning  line  3.  Make 
gesture  on  “ hugged,”  and  let  a laugh  run  through  the  words  of  Kate’s  : 
speech,  which  ends  this  stanza  and  begins  the  ninth. 

(9)  Put  both  hands  akimbo  while  saying  “ Och,  now,  Sandy  McGee.” 
Then,  turning  a little  sideways  and  looking  over  the  shoulder  at  him, 
let  the  right  hand  rise,  making  a full-arm  movement  horizontal  with 
the  shoulder,  the  forefinger  of  the  prone  hand  pointing  despotically 
toward  the  door,  and  so  finish  line  3.  Shake  the  hand  knowingly  and 
in  a very  pronounced  manner,  prolong. and  make  especially  strong  the 
emphasis  on  the  word  “ fale,”  letting  a triumphant,  laughing  tone  rin°- 
through  the  speech. 


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96 


EMMA  DUNNING  BANKS'S 


A RUSSIAN  CHRISTMAS. 

i. 

THROUGHOUT  Russia  in  December  glitter  icicles  and  snow 

From  the  peaks  of  the  icemiountains  to  the  skating-grounds  below. 
Jingle  sleigh  bells,  crashes  music,  float  forth  peals  of  merry  mirth, 
Ringing  from  the  lips  of  maidens,  rose-lipped  girls  of  Russian  birth. 
Gliding  o’er  the  sparkling  ice-ground,  swaying  with  a dainty  grace, 
Robed  in  sable  fur  and  velvet,  comes  the  queen  of  all  the  race. 

From  an  azure  velvet  background  glints  her  curling  golden  hair ; 

Men  draw  breath  in  rapture,  wonder,  as  they  note  the  form  so  fair. 

II. 

As  she  whirls  with  laughing  challenge,  one  leaps  forward  to  her  side, 
Clasps  her  hand,  and  to  the  music  dashes  on  with  daring  stride. 

’Tis  a fete  day  for  the  nobles,  and  the  swiftest  racing  pair 

From  the  czar  receive  at  Christmas  for  their  skill  some  gift  most  rare. 

Swifter  glide  the  foremost  skaters ; swifter  dart  those  in  the  rear ; 

Whirl  they  now  before  the  judges— now— the  second  goal  they  clear. 

“ Steady,  Ilva!”  “Swifter,  Othmarl”  “They  will  pass  you  ere  you 
know ! ” 

Then  for  answer  the  contestants  faster— faster— faster  go. 

III. 

Laughing  gladly,  skating  madly,  but  with  swaying  grace  secure, 
Countess  Ilva  and  Prince  Othmar  gauge  their  powers  to  endure. 

’Tis  the  last  round  now,  and  so  far  they  have  held  the  winning  place ; 
Leaning  forward,  all  the  people  breathlessly  now  watch  the  race. 

“Oh!  oh!  oh!”  broke  forth  in  horror;  “oh!  oh!  oh!”  burst  forth  in 
wrath, 

As  some  hand  in  jealous  fury  slid  a log  across  their  path. 

Will  it  stop  them  ? Will  it  throw  them  ? W ill  it  break  or  maim  a limb  ? 
Then  all  turn  their  gaze  on  Othmar,  for  all  hopes  depend  on  him. 

IV. 

Othmar’s  quick  glance  saw  the  danger,  and,  like  lightning-flash,  his  eyes 
Turn  one  searching  ray  on  Ilva.  “ Dear  one,  trust  my  strength,  be  wise 
Lean  upon  my  side  one  instant,  with  your  weight  thrown  off  the  ground.” 
Thrills  he  ’neath  her  arm’s  swift  pressure,  as  with  one  impulsive  bound 
Skilful,  graceful,  daring,  certain,  he  has  leaped  the  dangerous  place; 

In  his  arms  the  fainting  Ilva,  but— the  pair  have  won  the  race ! 

Bravos  filled  the  air  around  them,  cheers  uprose  on  every  side ; 

Some  one  cried : “ My  curse  on  Othmar ; Ilva  ne’er  shall  be  his  bride ! ” 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS. 


9/ 


V. 

Quick  the  curse  and  quick  the  speaker,  for  he  vanished  soon  as  heard, 
Tho’  all  searched  they  could  not  find  him,  and  all  soon  forgot  his  word, 
All  but  Ilva.  She  remembered,  and  she  shuddered  as  she  said : 

“ Log  and  curse  speak  one  dread  message ; act  and  word  wish  Othmar 
dead.” 

Petersburg’s  grand  winter  palace  blazed  with  sparkling,  twinkling  light, 
When  a royal  ball  was  given  by  the  czar  on  Christmas  night. 

All  the  air  was  sweet  with  perfume,  diamonds  glittered,  jewels  rare 
Gleamed  from  snowy,  dimpled  shoulders ; women  dainty,  maidens  fair, 

VI. 

Linked  their  perfect  arms  with  soldiers  in  their  uniforms  arrayed. 

But  the  fairest  Russian  floweret  was  our  erstwhile  skater  maid, 
Countess  Ilvarene  di  Grloski,  with  her  lover  at  her  side, 

Brave  Prince  Othmar ; and  all  Russia  knew  that  soon  she’d  be  his  bride. 
But  a week  scarce  passed  ere  Russia,  all  of  Russia  heard  this  news  • 
That  the  czar  the  hand  of  Ilva  to  Prince  Othmar  did  refuse. 

More : that  guilty  of  high  treason,  to  Siberia  he’d  been  sent, 

There  to  languish  all  his  life-time,  all  his  years  in  labor  spent. 


~ 


VII. 

Ilva  moaned : “ ’Tis  false  and  cruel ! Othmar’s  loyal  to  the  core ! 

Trace  the  man  whose  jealous  fury  threw  that  log,  and  at  his  door 
Will  be  found  the  crime  of  treason.”  Then  throughout  that  long,  long 
year 

Ilva  never  smiled ; but  pined  so,  that  her  friends  began  to  fear 
That  her  reason  soon  would  leave  her,  mourning  so  beneath  her  blow. 
Then  one  noonday  came  a mandate  from  the  czar  that  she  must  go 
With  her  friends  and  join  the  skaters;  must  contest  once  more  a race. 
But  this  year  the  game  was  different,  each  contestant  masked  his  face. 

VIII. 

And  until  the  ball  at  Christmas  in  the  palace  hall  took  place, 

It  would  not  be  known  which  skaters,  ’mong  them  all,  had  won  the 
race. 

Ilva  went  reluctant,  angry.  Once  more  on  the  skating-ground, 

All  her  Russian  pride  upheld  her,  and  she  felt  her  pulses  bound 
As  she  thought : “ I’ll  try  and  win  it,  and  for  gift  at  Christmas  time, 

I will  plead  that  I be  banished,  banished  to  Siberia’s  clime.” 

Once  more  whirled  the  merry  skaters,  once  more  some  one  gained  her 
side, 

Clasped  her ^hand  and  led  her  boldly,  swept  on  with  familiar  stride. 


98 


EMMA  DUNNING  BANKS'S 


IX. 

Once  she  caught  her  breath  and  held  it  with  a joy  akin  to  pain, 

For  the  skater’s  clasp  seemed  Othmar’s ; Othmar  seemed  with  her  again. 
Through  her  veins  the  blood  flew  dancing,  wilder  whirled  the  skaters’ 
pace, 

And  a voice  chimed  through  the  music,  singing : “ Win,  win,  win  the  race ; 
You’ve  a noble  skater  with  you,  almost  has  he  Othmar’s  skill ; 

Win  and  ask  the  czar  to  banish,  banish  you  at  your  own  will.” 

Needless  ’tis  to  tell  they  won  it,  or  to  paint  once  more  the  ball, 

Or  the  scenes  where  saddened  Ilva  still  shone  fairest  of  them  all. 

X. 

Oh,  the  hush  that  fell  among  them  when  right  loudly  ’twas  proclaimed : 
“ Silence ! that  the  race-contestants  and  the  winners  may  be  named. 
Silence ! ’Tis  the  czar  commands  it,  and  desires  it  to  be  read 
That  the  winners  in  the  race  shall,  by  his  royal  wish,  be  wed!” 

Down  upon  her  knees  fell  Ilva:  “ Sire,  I crave  your  pitying  grace; 

Wed  me  not  unto  this  stranger,  who  did  help  me  win  the  race. 

Sire,  I worked  and  strove  to  win  it;  hoped  to  offer  you  this  prayer: 
That  my  wretched  self  you’d  banish,  let  me  Othmar’s  trials  share.” 

XI. 

Then  a smile  warm  as  the  sunshine,  lighted  up  the  czar’s  sad  face : 

“ Countess  Ilva,  be  of  good  cheer,  ’twas  Prince  Othmar  won  the  race. 
Othmar’s  innocence  was  proven,  and  I sent  him  glad  recall, 

Planned  to  give  him  Princess  Ilva  at  our  merry  Christmas  ball.” 

All  unmasked.  Prince  Othmar  stepped  forth,  led  fair  Ilva  by  the  hand 
Where  within  the  old  Greek  chapel,  incense  burned.  A golden  band 
Placed  upon  her  marriage  finger ; ’neath  the  glittering  waxen  light 
Of  the  Greek  cross  wedded  Ilva,  on  that  Russian  Christmas  night. 


LESSON-TALK. 

(1)  Line  1 is  easy  description  without  gesture,  that  the  action-work 
may  commence  with  an  ascending  gesture  on  “ ice-mountains,”  merg- 
ing into  a slightly  spreading,  descending  movement  to  designate  “ the 
skating-grounds  below.”  The  music  and  mirthfulness  of  the  next  two 
lines  depend  entirely  upon  voice-effect  guided  by  feeling.  During  the 
next  four  lines,  while  describing  the  pretty  picture  of  the  young  queen 
of  the  skating-race,  point  her  out  with  pleased  attention,  seeming  to 
abandon  yourself  in  sympathy  with  her  swaying,  graceful  motion. 

(2,  3)  With  the  eyes  fixed  on  the  merry  scene  in  the  distance,  a sort 
of  semi-circular  movement  accompanied  by  a rotary  motion  of  torso  at 
the  waist-line  will  serve  to  illustrate  the  whirling  challenge ; then  to 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS. 


99 


point  out  her  companion  in  the  race,  the  right  hand  darts  forth  and 
the  whole  attitude  is  forward  and  vehement.  In  line  5 begins  the  de- 
scription of  the  race ; and  in  order  to  render  it  effectively  you  must  feel 
yourself  imbued  with  a truly  racing  spirit ; gesture,  body,  eyes  and  face 
all  express  fire  and  animated  attention.  Picture  an  imaginary  ring; 
locate  your  goals,  your  judges’  stand;  start  the  competitors  from  a 
certain  point,  and  let  voice  and  torso  seem  to  sway  with  them  as  they 
circle  round.  With  strong,  steady  voice  call,  “ Steady,  Ilva ! ” “ Swifter, 
Othmar ! ” etc.  Continue  the  excitement  through  third  stanza.  Bring 
out  the  “ Oh’s  ” in  line  5 of  the  third  stanza  strongly,  coloring  them  with 
alternate  horror  and  wrath,  and  let  the  same  sentiments  commingle  in 
line  7. 

(4)  Othmar’s  voice  is  deep  and  rings  with  determination.  As  the 
result  of  the  leap  is  watched  for,  bring  out  the  adjectives  in  line  5,  in  a 
manner  strongly  evincive  of  admiration  and  exultation.  A harshly 
defiant  tone  is  employed  for  the  line  embodying  a curse. 

(5,  6)  Ilva’s  voice  is  womanly,  and  vibrant  with  tearful  emotion  and 
dread.  Without  gestures,  and  relying  solely  upon  tone-coloring  for  its 
beauty,  picture  the  ball-room  scene  at  the  winter  palace  of  St.  Peters- 
burg. During  the  last  four  lines  of  the  sixth  stanza,  a darker,  stronger 
tone  is  employed ; gestures  of  attention  are  used,  and  one  of  location, 
sweeping  vaguely  in  the  distance  to  designate  Siberia. 

(7,  8,  9)  With  hands  clinched  at  the  sides  in  seeming  agony,  Ilva’s 
first  line  is  delivered ; then  the  right  hand  unclinches  and  comes  for- 
ward on  the  words  “trace  the  man  whose  jealous  fury  threw  that 
log,”  and  letting  the  hand  wave  slightly  on  the  words  “his  door,” 
and  fall  heavily  and  despairingly  on  the  word  “ treason.”  In  the  last 
two  lines  of  the  eighth  stanza  begins  anew  the  dashing,  impetuous 
whirl  of  the  race,  with  its  strongly-drawn  tension  of  voice,  manner  and 
excitement  in  description.  In  rendering  the  imaginary  voice  chiming 
through  the  music  and  existing  only  in  the  overwrought  brain  of  the 
fair  contestant,  use  a rhythmic,  effusive,  chanting  tone,  prolonging  the 
vowels  and  swaying  subtly  at  waist  in  sympathy  with  the  skaters.  In- 
toned to  soft  music,  this  might  be  made  very  effective. 

(10)  The  prolonged,  sustained  voice  and  demand  for  attention  to  the 
wishes  of  the  czar,  must  be  strong  and  full.  Ilva’s  speech  burns  with 
the  passionate  pleading  of  despair,  while,  as  the  sentiment  demands  it, 
the  hands  alternately  clasp  and  unclasp. 

(11)  Here  the  sombre  tone-coloring  changes  to  express  warmth  and 
sunshine.  The  voice  of  the  czar  is  deep,  soft  and  pleasant.  A gesture 
of  location  for  the  Greek  chapel  may  be  made,  merged  into  a spiral, 
floating,  ascending  gesture  to  express  the  curling  smoke  of  the  incense. 
The  remainder  of  the  stanza  consists  of  simple  description. 


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T^^HIS  Book  is  a unique  presentation  of  tlie  most  modern  and  advanced 
JL  theories  of  vocal  development.  Many  of  the  views  the  author  claims 
as  original.  The  exercises  and  special  studies  have  stood  the  test  in 
the  class-room  and  are  the  result  of  long  and  varied  experience. 

One  of  the  special  features  of  the  hook  is  a most  complete  set  of  breathing 
exercises,  comprising  muscular  development,  rhythmical  breathing  accom. 
panied  by  music,  acting  upon  imagination  and  automatically  imparting  the 
sense  of  time  to  tone  and  movement. 

The  Vowel  and  Consonant  Exercises  impart  automatically  that  nice  mus- 
cular adjustment  of  the  organs  of  phonation  and  articulation  essential  to  the 
refined  pronunciation  of  any  language. 

Another  special  feature  is  the  study  of  bird-notes  with  their  musical  scores. 

Another  original  feature  is  the  insistance  on  the  use  of  stringed  instru 
ments  for  the  special  training  of  the  ear  so  as  to  improve  the  quality  of  tone. 


GENERAL  LIST 

Chapter  I.— Introduction. 

Chapter  II.— A Plea  for  Muscular  Develop- 
ment without  Apparatus. 

Chapter  III.— Muscular  Exercises  Combined 
with  Breathing, 

Chapter  IV.— Breathing  with  Arm  Move- 
ments. 

Chapter  V.—  Breathing  to  Music. 

Chapter  VI.  — Exercises  for  Rhythmical 
Breathing,  Accompanied  by  Music. 

Chapter  VII.— Relaxing  Exercises  for  the 
Body. 

Chapter  VIH.— Placing  or  Directing  the 
Breath. 

Chapter  IX.— Grace. 

Chapter  X.— Muscular  Exercises  for  the  Legs. 

Chapter  XI. — Muscular  Exercises  for  the 
Arms. 

Chapter  XII.— Rhythmical  Exercises. 

Chapter  XIII.— Recumbent  Exercises. 

Chapter  XTV.— Facial  Muscles. 

Chapter  XV. — The  Influence  of  the  Voice. 

Chapter  XVI.- Relaxing  Exercises  for  the 
Vocal  Organs. 


OF  CONTENTS  = 

Chapter  XVII. — Energizing  Exercises  for  the 
Vocal  Organs. 

Chapters  XVIII,  XIX.— Vowel  Tables. 

Chapter  XX. — Consonant  Tables. 

Chapter  XXI. — Combination  of  Long  Vowels 
with  Consonants. 

Chapter  XXII.  — Combination  of  Short 
Vowels  with  Consonants. 

Chapter  XXIII.  - Exercises  for  Combina- 
tions of  Vowels  and  Consonants  as  Given 
in  the  ^ables. 

Chapter  XXIV.— Crescendo  Practice  and 
Placing  of  Tone. 

Chapter  XXV.  — A Plea  for  the  use  of 
Stringed  Instruments  in  Voice-Develop- 
ment. 

Chapter  XXVI. — Daily  Regime  for  an 
Artist. 

Chapter  XXVII. — Gymnastics  and  Athletics, 
and  Physiology  of  the  Voice.  By  Samuel 
R.  Elliott,  M.D. 

Chapter  XX  /III.— Bird  Songs,  with  their 
Musical  Scores. 


Teachers’  price,  $1.00  postpaid.  Special  reduction  for  class  use. 

Address  the  Publisher,  EDGAR  S.  WERNER,  108  East  16th  St.,  New  York. 


HOW  SALVATOR  WON, 

AND  OTHER  RECITATIONS. 

By  ELLA  WHEELER  WILCOX. 

One  of  the  peculiarities  of  Mrs.  Wilcox’s  poems  is  their  special  suitability 
for  public  recitation.  Nearly  every  poem  contains  a story  of  intense  human 
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it  before  an  audience.  This  book  is  a collection  of  all  of  Mrs.  Wilcox’s 
poems  that  a, re  particularly  good  for  this  purpose.  Many  of  the  recitations 
were  written  expressly  for  it,  and  all  of  the  poems  have  been  chosen  especially 
for  their  dramatic  possibilities  and  for  their  giving  reciters  a better  chance  to 
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PHYSICAL  CULTURE, 

By  CHARLES  WESLEY  EMERSON,  M.D.,  LL.D, 

THIRTY-EIGHT  FULL  PAGE  ILLUSTRATIONS— ELEGANTLY 
PRINTED  AND  BOUND. 


AN  EXCEEDINGLY  PRACTICAL  BOOK. 


EXERCISES  EOR 

(1)  Securing  the  Proper  Position  of  the  Vital  Organs  ; (2)  Developing  the  Vital  Organs 
by  Exercising  the  Muscles  that  surround  them  ; (3)  Preserving  a Due  Balance  Between  the 
Energy  that  Supplies  and  the  Energy  that  Wastes ; (4)  Strengthening  the  Centres  while 
Freeing  the  Surfaces  ; (5)  Maintaining  Equilibrium  Between  the  Forces  of  the  Pneumogastric 
and  the  Sympathetic  Nerves  on  the  One  Hand,  and  the  Forces  of  the  Spinal  Cord  and  the 
Spinal  Nerves  on  the  Other ; (6)  Preserving  the  True  Balance  Between  the  Exercise  and 
Stimulation  of  the  Life-Sustaining  Forces  and  That  of  the  Brain  ; (7)  Freeing  the  Different 
Parts  of  the  Physical  System  that  are  Joined  by  Definite  Articulations,  and  Thus  Preventing 
Them  from  Embarrassing  Each  Other  ; (8)  Developing  Due  Relationship  Between  Different 
Groups  of  Muscles  ; (9)  The  Developing  of  Beauty  and  of  Health. 


SOME  OE  THE  SUBJECTS  TREATED. 

Aesthetic  Value  of  the  Exercises — Healthy  Attitudes  of  the  Mind — How  to  Equalize  the 
Circulation— From  Climax  to  Repose  in  Exercise— Conservation  of  Force  Developed  by 
Exercise— Correlation  of  Forces  and  Conservation  of  Energy— Diet^Greek  Education  and  the 
Principle  of  Repetition — Maximum  Result  with  Minimum  Effort— Nervous  Sympathy 
Throughout  the  System— Physical  Energy  and  Psychological  Force— Best  Time  and  Number 
of  Hours  for  Sleep— Educating  the  Body  with  Reference  to  the  Soul— Relation  of  Physical 
Exercises  to  Voice — Vital  Supply  for  the  Entire  Organism— Physiological  and  Psychological 
Laws  to  be  obeyed  in  Bodily  Education — Equilibrium  and  Muscular  Sense — Physiology  of 
the  Relationship  of  Parts— Suggestions  for  Securing  Health  and  Longevity. 


Teachers’  net  price,  $2.00,  postpaid. 

Special  reduction  when  used  in  classes. 


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I 


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Quart  of  Milk  and 
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PANTOMIMES  AND  ILLUSTRATED  READINGS  CONTINUED  ON  3d  COVER  PAGE 


154 


EMMA  DUNNING  BANKS'S 


4 

•| 


xQ 


1 


A QUART  OF  MILK. 

i. 

THERE  once  lived  in  the  famed  town  of  Hull 
A rich,  deafened  old  lady  named  Mull ; 

And  ’tis  said  in  her  trumpet  of  tin 

That  some  children  once  peeped  and — fell  in. 

But  howe’er  that  might  be,  this  I know, 

’Twas  full  large,  for  she  ordered  it  so. 

II. 

Her  quaint  language  of  pure  Holland  Dutch 
Had  accented  her  English  so  much, 

That  sometimes  you  would  find  it  a task 
Comprehending  the  questions  she’d  ask. 

She  would  scream  out  a “ How  do  you  do?” 

And  then  level  her  trumpet  at  you. 

III. 

The  old  thing  was  so  large  and  so  queer, 

That  you’d  laugh  ’stead  of  talk  in  her  ear. 

It  so  happened,  one  fine  summer’s  day, 

A new  milkman  was  passing  her  way ; 

Right  quickly  she  ran  to  the  gate 

Crying : “ Here,  milky  man,  vait ! vait ! vait ! ” 

IV. 

Now  the  milkman  was  young,  and  I fear 
That  the  thoughts  of  a maid  he  held  dear 
Had  possessed  him  with  dreams  strange  and  sweet, 
As  he  lazily  drove  down  the  street. 

Absent-minded,  he  paused  near  her  door, 

Only  half  heard  her  resonant  roar ; 

y. 

Only  half  caught  the  gleam  of  the  tin, 

As  she  raised,  with  a clatter  and  din, 

That  ear-trumpet,  so  huge,  ’neath  his  eyes. 

(Had  he  seen,  he’d  have  sure  shown  surprise.) 

“ Milky  man,”  thus  she  cried,  “ come  more  near; 

Vat  you  scharge  milk  a quart,  doan’t  you  hear?” 


By  permission  of  Penn.  Pub.  Co.,  from  “ Choice  Dialect.’ 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.  155 


VI. 

Then  she  paused,  witli  the  ear-trumpet  nigh 
To  quick  grumble,  should  price  prove  too  high. 
Hark ! a gurgle — a splash — as  the  can 
Was  upraised;  and  the  milk?  Oh,  it  ran 
Full  a quart  down  that  trumpet  of  tin, 

And  the  Dutch  that  poured  forth  was  a sin. 

VII. 

‘ Donner  Blixen!”  she  cried,  “ ach ! mein  ear! 
Scliust  you  vait,  milky  man.1'  But  in  fear 
That  poor  milkman  had  sped  on  his  way, 

And  she  ne’er  saw  him  more  from  that  day; 

For  he  journeys  full  three  miles  around 
Just  in  order  to  keep  safe  and  sound. 

VIII. 

He  has  heard  of  the  deaf  woman’s  boast 
That  her  fiendish  small  boy  on  a post 
Daily  perches,  with  heart  full  of  ire, 

And  a shotgun  all  ready  to  fire 

At  the  moment  that  man  should  appear, 

Who  that  “ quart  of  milk”  poured  in  her  ear. 


LESSON-TALK. 

A bright,  vivacious,  conversational  manner  should  characterize  the 
rendering  of  this  selection.  For  hints  regarding  German  dialect,  the 
reader  is  referred  to  the  selection  in  German  dialect  on  page  48  of  this 
book. 

(1)  To  point  the  town  of  Hull  is  allowable,  if  the  reader  wishes  to 
begin  gesture-work  at  once.  Illustrate  the  peeping  referred  to  in  line 
4 by  slightly  shading  the  eyes  with  the  right  hand,  and  glancing  down- 
ward to  the  right.  Pause  after  the  conjunction  “ and,”  and  bring  the 
hand  downward  in  a prone  gesture  as  you  say  “ fell  in.”  We  use  the 
hand  supinely  when  we  disclose  or  show  something ; make  such  a ges- 
ture, therefore,  on  the  phrase  “ this  I know.” 

(2)  This  stanza  is  simply  conversational  in  style.  Do  not  forget, 
however,  that  facial  expression,  the  glance  of  the  eye,  sometimes  the 
mere  raising  of  the  eyebrow,  will  add  largely  to  the  life  and  force  and 
value  of  speech.  Literally  scream  out  the  “ How  do  you  do,”  and  mark 
the  accent. 


IS6 


EMMA  DUNNING  BANKS’ S 


(3)  In  line  1 introduce  gestures  with  both  hands,  to  represent  the 
size  of  the  trumpet.  Bring  out  line  2 in  a light,  laughing  manner. 
With  hand  raised  in  a gesture  of  attention,  to  attract  the  milk- vender’s 
notice,  illustrate  her  crying,  “ vait ! vait ! vait ! ” 

(4,  5)  The  fourth  stanza  is  simply  descriptive,  as  is  also  the  greater 
part  of  the  fifth  stanza.  In  line  5 of  the  latter  stanza,  as  the  old  lady 
stops  the  milkman  by  gesture  and  cry,  raise  the  voice  in  a shrill  fal- 
setto and  preserve  the  accent. 

(6)  Make  use  of  startled  attitudes  and  gestures  on  the  words  “ Hark ! 
—a  gurgle— a splash!  ” then  turn  and  point  to  the  upraised  can,  finish- 
ing the  stanza  with  merry  humor  and  emphasis. 

(7,  8)  Again  comes  the  shrill  falsetto,  as  the  old  ladv,  clapping  her 
hands  to  her  ear,  fairly  screams  out  her  threats  to  the  man.  Make  ges- 
tures to  the  left  to  describe  the  milkman  as  he  speeds  “in  fear.”  A 
curving  movement  from  the  right  to  the  left  will  describe  his  journey 
full  three  miles  around.”  Finish  brightly,  conversationally,  and  em 
phatically. 


FOR  THE  SLUMBER  ISLANDS,  HO ! 


When,  robed  in  gowns  of  white, 
All  sleepy  little  children 
Set  sail  across  the  night 
For  that  pleasant,  pleasant  country. 
Where  the  pretty  dream-flowers  blow, 
’Twixt  the  sunset  and  the  sunrise, 


When  the  little  ones  get  drowsy, 
And  the  heavy  lids  droop  down 
To  hide  blue  eyes,  and  black  eyes, 
Gray  eyes,  and  eyes  of  brown, 

A thousand  boats  for  Dreamland 
Are  waiting  in  a row, 

And  the  ferryman  is  calling, 


I. 

LITTLE  song  for  bedtime 


For  the  Slumber  Islands,  hoi” 


II. 


For  the  Slumber  Islands,  hoi” 


'I  OF  ILL  LIB. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.  157 


III. 

Then  the  sleepy  little  children 
Fill  the  boats  along  the  shore, 

And  go  sailing  off  to  Dreamland, 

While  the  dipping— of  the  oar — 

In  the  sea  of  sleep — makes  music 
That  the  children  only  know, 

When  they  listen  to  the  boatman’s 

“ For  the  Slumber  Islands,  ho  l ” 

IV. 

Oh,  take  a kiss,  my  darlings, 

Ere  you  sail  away  from  me 

In  the  boat  of  dreams,  that’s  waiting 

To  bear  you  o’er  the  sea. 

Oh,  take  a kiss,  and  give  one, 

And  then — away — you  go — 

A-sailing — off — to  Dreamland, 

“ For  the  Slumber  Islands,  ho  1 ” 


LESSON-TALK. 


In  its  refinement  and  sweetness  this  piece  is  a gem,  and  is  specially 
suited  to  be  given  where  a response  is  solicited  after  a humorous  or  a 
dialect  selection.  The  prevailing  mood  which  colors  the  voice  is  one  of 
sympathetic  tenderness.  One  to  whom  the  sunny  faces  and  innocent 
hearts  of  little  children  are  a never-failing  source  of  tenderness,  will 
strike  the  keynote  at  once. 

(1)  Curve  and  uncurve  the  hands,  while  describing  the  wee  toddlers 
in  their  clinging  robes  of  white.  Make  an  oblique  right-hand  gesture 
on  the  words  “ set  sail  across  the  night.”  A subtle,  sympathetic  sway- 
ing of  the  body  forward  should  accompany  the  words.  On  the  second 
repetition  of  the  word  “ pleasant  ” let  the  emphasis  be  quite  strong.  A 
slight  descending  and  ascending  movement  will  serve  to  alternately 
express  “ sunset  and  sunrise.”  Let  the  ascending  gesture  merge  into  a 
movement  where  the  right  arm  is  extended  horizontally  oblique,  and 
the  head  and  hand  held  as  if  listening  to  the  intoning  of  the  words 
“ For  the  Slumber  Islands,  ho ! ” A dreamy,  effusive  tone  characterizes 
the  prolonging  of  this  line.  It  is  very  effective  if  intoned  as  follows, 


— 0 0 0 0 - 1 — 


■K-&- 


For  the  Slum -her  Is  - lands!  Hot  o-Oh,  o-Oh,  o-Oh. 


158 


EMMA  DUNNING  BANKS'S 


letting  the  syllable  “ oh  ” die  away  in  a mere  murmur  of  sound.  The 
effect  is  dreamily  rhythmic  and  pleasing. 

(2)  By  stress  and  emphasis  make  the  word  “heavy”  picturesque. 
With  the  forefinger  of  the  right  hand  count  upon  the  left  the  “ blue 
eyes,  black  eyes,  gray  eyes  and  eyes  of  brown,”  letting  the  hands  sepa- 
rate widely  to  express  magnitude  on  the  word  “thousand.”  The  left 
hand  will  then  fall  to  the  side,  while  the  right  continues  obliquely  for- 
ward in  an  imaginary  journey  toward  dreamland,  the  body  swaying  in 
the  same  direction.  Wave  the  hand  to  describe  the  row  of  boats,  then 
curve  hand,  arm,  and  body  for  the  listening  pose,  while  giving  the  call 
finishing  the  stanza. 

(3)  Turning  quickly  toward  the  imaginary  dreamland,  describe  by 
voice  and  gesture  “ the  sleepy  little  children  ” as  they  “ fill  the  boats  along 
the  shore.”  While  the  arm  is  still  outstretched,  curve  the  hand  in- 
ward, then  let  it  seem  to  float  out  on  the  words  “ sailing  off  to  Dream- 
land.” Again  seem  to  listen,  and,  while  using  the  fairy  oars  wherever 
the  dashes  occur,  time  the  voice  in  a rhythmic,  musical  intonation  illus- 
trative of  the  murmuring,  rippling  waters  of  the  “sea  of  sleep.”  Fin- 
ish as  in  preceding  stanzas. 

(4)  After  the  word  “oh,”  commencing  this  stanza,  throw  to  an  im- 
aginary little  one  an  imaginary  kiss.  Let  the  hand  wave  out  as  you 
say  “the  boat  of  dreams.”  In  line  5 again  waft  a kiss  and  seem  to 
catch  one.  Obedient  to  the  dreamy,  musical  rhythm  of  the  words, 
sway  forward  obliquely  in  a subtle,  harmonious  manner,  letting  hands 
and  arms  float  out  on  the  words  “ away  you  go.”  Do  this  as  though 
impelled  by  an  uncontrollable  sympathy  of  impulse.  Alternate  this 
work  by  swaying  backward  on  the  words  “a-sailing,”  then  forward  on 
the  word  “off,”  and  then  backward  on  the  words  “to  Dreamland.” 
Finish  by  letting  the  right  hand  come  forward,  and  glancing  and  lis- 
tening from  side  to  side  as  the  musical  call  of  “ For  the  Slumber  Islands, 
ho-o-oh — oh ! ” dies  away  in  the  distance.  Put  as  many  “ ohs  ” in  as 
seem  musically  appropriate. 


PAT  AND  THE  YANKEE. 

AS  Pat,  an  odd  joker,  with  a Yankee  more  sly, 

Was  riding  one  morn,  both  a gallows  did  spy. 

Said  the  Yankee  to  Pat:  If  I don’t  make  too  free, 

Give  that  gallows  its  due,  pray,  where  would  you  be?” 
By  me  troth,  now,”  says  Pat,  “ faith,  that’s  easily  shown, 
I’d  be  ridm’  to  town  by  mesilf  all  alone ! ” 


A Text-Book  for  Re- 
quirements of  20th 
Century  Elocution 


Used  by  mnny  of  the 
Leading  Schools  in 
English-Speaking 
America 


ELOCUTION 

AND 

ACTION 


BY 

F.  Townsend  Southwick 


Lessons  are  in  sequential  order  and  furnish 
a TRUE  EVOLUTION  OF  EXPRESSION 

Book  gives  an  up-to-date  method  of  teaching  expression, — 
of  training  body  and  voice  to  express  whatever  thoughts  are 
within  the  person  to  express.  No  book  equals  this  in  con-, 
ciseness,  comprehensiveness,  directness,  — iu  being  the 
representative  of  the  “new  elocution,”  in  contradistinc- 
tion to  the  old,  artificial,  superficial,  mechanici.1  elocution. 
Complete  in  itself  and  makes  another  book  unnecessary. 


Recitations  for  Practice  in  Connection  with  the  Lessons 

“Adams  and  Jefferson,”  “Against  Whipping  in  the  Navy,”  “Alexander  Ypsilanti,”  “Battle  of 
Naseby,”  “ Bells  of  Shandon,”  “Brutus  on  the  Death  of  Caesar.  Chambered  Nautilus, 

“ Charge  of  the  Light  Brigade,”  “ Christmas  Party  at  Scrooge’s  Nephew’s,”  “ Dedication  of 
Gettysburg  Cemetery,”  “Discontented  Pendulum,”  “Duel,”  Echo  and  the  Ferry,”  ^Facilis 
Descensus,”  “Fox  at  the  Point  of  Death,”  “Hamlet’s  Instruction  to  the  Players,”  “ Herve 
Riel,”  “Incident  of  the  French  Camp,”  “Langley  Lane,”  “Leper,”  “Little  Stowaway,”  “Man 
in  the  Moon,”  “Marmion  and  Douglas,”  “Mice  at  Play,”  “Mont  Blanc  Before  Sunrise,”  Origin 
of  Roast  Pig,”  “Owl  and  the  Bell,”  “Owl  Critic,”  “Palmer’s  Vision.”  "Plain  Tale  of  1893,’ 
“Portia’s  Speech  on  Mercy.”  “Prodigal  Son,”  “Reading  for  the  Thought,”  “Scene  from ‘Julius 
Caesar,’”  ,rScene  from  ‘The  Rivals,’”  “ Star  Spangled  Banner,”  “ Supporting  the  Guns,” 
“Sweet  and  Low,”  “Sympathy  with  the  Greeks,”  “Selection  from  ‘A  Tramp  Abroad,  ” ‘ Twenty- 
Third  Psalm,”  “Two  Views  of  Christmas,”  “Wind  and  the  Moon.” 

Also  Other  Selections 

“Americanism,”  “Destruction  of  Sennacherib,”  "Forging  of  the  Anchor,”  “France  and  Rocham- 
beau,”  “Fugitives,”  “Good  Courage,”  “Great  Schools  of  the  World,”  “Hand-Car  412.”  “Hunt- 
ing Song,”  “If  Mother  Would  Listen.”  “I’m  With  You  Once  Again,”  “Issues  of  the  Transvaal 
Question,”  “Liberty,”  “Lilies  at  Queens’  Gardens.”  “March  of  Company  A,”  “Mince  Pies,” 
‘ Old  Flag.”  “Other  Side  of  the  Case,”  “Plea  for  Cuban  Liberty,”  “Religion  of  Trooper  Peter 
Halket,”  “Rome  and  Carthage,”  “Sermon  on  the  Mount,”  “Shylock  to  Antonio,”  “Song  of  the 
Chattahoochee,”  “Speech  of  Black  Hawk,”  “ Sultan’s  Career,”  “Tea-kettle  and  the  Cricket,” 
“Whip-Poor-Will,”  “William  McKinley,”  “You  Never  Can  Tell.” 

WELL  PRINTED  AND  BOUND  IN  CLOTH.  75  CENTS.  NET 


ACTING  MONOLOGUES 

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PANTOMIMES 

By  MARY  TUCKER  MAGILL 

Pantomimes,  or  Wordless  Poems.  Special  edition,  50c.  This  book  contains: 

1.  PANTOMIMIC  EXERCISES,  fully  described  and  accompanied  with  original 

music,  depicting  AFFECTION,  ANGER.  EXPECTATION,  FAREWELL, 
FEAR,  JOY,  RELIGIOUS  DEVOTION,  SORROW. 

2.  Pantomimes  (fully  described)  of  “GINEVRA,”  “QUEEN  KATHARINE’S 

VISION,”  “ SEVEN  TIMES  THREE,”  ‘“WINTER’S  TALE,’  SCENE 
FROM.”  These  are  action  poems  without  words. 

3.  Also  the  recitations:  “AUNT  ANARKY’S  PRESENTS,”  “BAKER’S 

WIFE,”  “BORROWERS,”  “ KASSERBANKER.” 


OTHER  PANTOMIMES  BY  MISS  MAGILL 

boldenhair  and  the  Bears.  35c.  Child.  20  min.  3m,  If.  Girl  with  golden  hair 
goes  to  house  where  live  three  bears  (impersonated  by  boys),  eats  their  food  and 
gets  into  their  bed.  Bears  come  home,  are  surprised  to  find  food  gone  and  some- 
one in  bed.  Girl,  at  first  frightened,  soon  feels  safe,  and  scene  ends  with  dance. 
Music  given. 

Rory  O’More.  35c.  Comedy.  Irish  dialect.  15  min.  lm,  If.  Poem  by  Samuel 
Lover,  pantomime  by  Myra  Pollard  and  Goodwal  Dickerman.  Peasant  costumes. 
Scene  between  saucy  lover  and  coquettish  girl,  he  kissing  her  eight  times  and 
then  taking  another,  as  “ there  is  luck  in  odd  numbers.”  Music  given.  6 photo- 
graphs from  life. 

Seven  Times  One.  35c.  Child.  15  min.  Boy  or  girl-.  Poem  by  Jean  Ingelow. 
Unusually  dainty  and  poetic  child  entertainment.  Music  given.  3 photographs 
from  life. 

Where  Are  You  Going,  My  Pretty  Maid?  35c.  Comedy.  10  min.  lm,  If. 
Pantomimed  by  Myra  Pollard  and  Goodwal  Dickerman.  Last  century  costumes — 
girl  as  country  maiden,  man  as  city  swell.  Man  takes  back  proposal  on  learning 
girl  has  no  money,  she  retorting  that  nobody  asked  him  to  marry  her.  Music 
given.  7 photographs  from  life. 


Any  of  these  books  sent  postpaid  on  receipt  of  price  *** 


PANTOMIMES  AND  ILLUSTRATED  READINGS 

Continued  ]rom  Second  Cover  Page 


Listening  Ear  of  Night.  $.25.  io  min.  i or 
many  f.  Poem  by  E.  H.  Sears.  Christmas 
carol.  Celestial  choirs  and  angels  fill  the  air 
with  harmonies  which  fall  on  "the  ‘ ‘ listening 
ear  of  night.”  Hills  of  Palestine  send  back 
a glad  reply,  while  over  Galilee  comes  a holier 
calm.  7 photographs. 

Lotos=Eaters.  $.50.  30  min.  3L  Poem  by 

Tennyson.  Grecian  warriors,  returning  from 
Trojan  war,  stop  at  the  lotos  land,  eat  of  the 
lotos,  become  incident,  and  lose  desire  to  re- 
turn home.  May  be  given  by  three  girls,  or 
any  number  of  groups  of  three.  Portrait  of 
Tennyson.  Schumann’s  “Slumber  Song” 
given.  15  photographs. 

Maud  Muller.  $.25.  10  min.  Poem  bv  Whit- 

tier. Portrait  of  Whittier,  also  cuts  of  his 
birthplace  and  residence.  5 photographs. 

My  Faith  Looks  up  to  Thee.  $.35.  10  min.  1 

or  more  f.  May  be  given  by  children  or  adults. 
17  photographs. 

My  Mother’s  Bible.  $.35.  8 min.  Poem  and 

pantomime  by  Mrs.  F.  W.  Pender.  Tells  of 
lessons  learned  from  mother  and  the  love 
daughter  bears  for  mother’s  Bible,  from 
which  those  lessons  were  taken.  13  photos. 

Nearer,  My  God  to  Thee.  $.50.  10  min.  1 or 

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hymn  without  other  instruction.  22  photos. 

Old  Folks  at  Home.  $.25.  10  min.  if.  or 

many.  Poem  by  S.  Foster  Known  also  as 
* S’wanee  River.”  Famous  pathetic  negro 
ballad.  1 5 photographs. 

Paradise  and  the  Peri.  $.35.  From  ‘‘Lalla 
Rookh.”  Thomas  Moore.  Pantomimed 
Poem,  with  Lesson-Talk.  15  min.  1 or 
many  f.  Persian  myth  of  fallen  angel  regain- 
ing heaven  by  bringing  from  earth  a tear  of 
repentant  mortal.  10  photographs. 

Poses  Plastioues  for  the  Little  Ones.  No.  I. 
$.25.  Expression  Studies.  30  min.  1 or 
many.  Pantomime  of  Pleading,  Triumph, 
Meditation,  Despair,  Defiance,  Sorrow,  Fright, 
Dancing,  Secrecy,  Mirth,  Listening,  Watch- 
ing. Pantomiming  may  be  done  by  one  set 
of  children,  while  singing  is  done  by  another 
set.  1 1 photographs. 

Pro  Patria.  $.35.  Patriotic  Prose  Recitation, 
with  Lesson-Talk  by  Ada  Ammerman.  15 
min.  Revolutionary  War  storv  of  girl  re- 
jecting her  British  captain  lover,  and  by 
daring  horse-back  ride  carrying  orders  from 
Washington  to  Lee  pending  battle  at  Tren- 
ton. 9 photographs. 

Rizpah.  $.25.  15  min.  1 or  many  f.  Poem 

by  L.  Blinn.  Bible  story,  II.  Samuel  xxi, 
1-11.  Mother  guards  from  beasts  and  birds 
of  prey  for  days  dead  bodies  of  her  sons,  given 
by  King  David  for  atonement  for  Saul’s 
slaughtering  the  Gibeonites.  After  her  boys 
are  buried  the  mother  is  crazed  and  dies 
crooning  to  and  rocking  an  imaginary  child. 

8  photographs. 


Address  the  Publishers,  EDGAK  S. 


Rock  Me  to  Sleep.  $.50.  10  min.  if.  or  many. 

Poem  by  Elizabeth  Akers.  With  hints  for 
posing  and  photographing  poses.  10  photos. 

^ock  of  Ages.  $.25.  10  min.  Any  number. 

Famous  hymn  pantomimed.  An  illustration 
for  tableau — shipwrecked  girl  clinging  to  a 
cross  in  mid-ocean  is  also  given.  1 2 phcitos. 

Romance  of  the  Ganges.  $.25.  30  min.  7f. 

Poetp  by  E.  B.  Browning.  Seven  maidens 
set  afloat  little  boats  with  lighted  lamps — if 
the  light  holds  out,  love  will  endure.  One  of 
the  lights  goes  out  and  its  owner  jumps  into 
the  river.  14  photographs. 

Rory  O’Morc.  $.35.  Irish  dialect.  15  min. 
im.  if.  Poem  by  S.  Lover.  Peasant  cos- 
tume. Scene  between  saucy  lover  and  co- 
quettish girl,  he  kissing  her  eight  times  and 
then  taking  another,  as  “there  is  luck  in  odd 
numbers.”  6 photographs. 

Rosalind’s  Surrender.  $.25.  Patriotic,  Roman- 
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tors  fought  for  the  Stars  and  Stripes  waves 
during  Civil  War,  Union  flag  as  her  Union 
lover  goes  by.  6 photographs. 

Royal  Princess.  $.25.  is  min.  if.  Poem  by 
C.  G.  Rossetti.  Princess,  surfeited  with  lux- 
uries and  restless  under  restraints  of  royal 
position,  shows  she  has  a humane  heart,  and 
offers  to  surrender  her  jewels  in  order  to  give 
bread  to  the  starving  people.  1 1 photographs. 

Rubaiyat.  $.35.  15  min.  1 or  many.  Some 

of  the  thoughts  from  this  famous  Persian 
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Scarlet  Letter.  $.25.  Dramatic  Tragic  Pathos 
Recital,  by  N.  Hawthorne.  i$  hours.  This 
famous  American  classic  colonial  (Puritan) 
novry  bridged  and  arranged  for  entire  en- 
tertjiinment.  Any  one  of  seven  scenes  may 
be  given  separately.  6 photographs. 

Seven  Times  One.  $.35.  15  min.  Poem  by 

Jean  Ingelow.  Unusually  dainty  and  poetic 
child  entertainment.  3 photographs. 

Sissy  Hawkins.  $.25.  Farcical  Yankee  Dialect 
Character  Sketch  Acting  Monologue,  by 
Stanley  Schell.  10  min.  Awkward,  simple- 
minded,  country  girl,  in  going  to  a new-comer 
to  borrow  things,  talks  about  herself  and 
neighbors.  Opportunity  for  outlandish  cos- 
tume, dancing  and  playing  on  mouth-organ 
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Soul  of  the  Violin.  $.35.  20  min.  Starving 

musician,  in  taking  final  farewell  of  lpng- 
chenshed  violin,  which  he  refuses  to  sell.; for 
bread,  reviews  the  past,  living  over  again  a 
romance,  and  both  he  and  the  violin  go  to 
pieces  together.  Opportunity  for  violin  effects 

9 photographs: 

Star=Spangled  Banner.  $.35.  10  min.  1 or 

many  f.  Poem  by  F.  S.  Key.  10  photos. 

Where  Are  You  Going,  My  Pretty  Maid?  $.35. 

10  min.  im.,  if.  Last  century  costumes — 
girl  as  country  maiden,  man  as  citv  swell 
Man  takes  back  proposal  on  learning  girl  has 
no  money,  she  retorting  that  nobody  asked 
him  to  marry  her.  7 photographs. 


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PANTOMIMES  AND 
ILLUSTRATED  READINGS 

All  Illustrated  from  Photographs  from  Life 


Abide  with  Me.  $.35.  10  min.  Any  number. 

Hvmn  by  W.  H.  Monk.  While  particularly 
suited  to  religious  occasions,  it  is  good  for  any 
entertainment.  6 photographs. 

At  the  Golden  Gates.  $1.00.  is  "tin.  Any 
number.  Poem  bv  Father  Ryan.  As  a per- 
son kneels  at  the  Golden  Gates  he  is  told  of 
a day  when  the  soul  shall  reach  great  heights. 
23  photographs. 

Blacksmith’s  Story.  $.25.  30  min.  Poem  by 

F.  Olive.  First  husband  reported  killed  in 
battle,  man  marries  supposed  widow,  but  first 
husband  appears  and  woman  goes  vvith  him 
taking  away  second  husband’s  child. 
photographs. 

Bobby  Shaftoe.  $.35.  im.  2t.  ic  min.  Hu- 
morous pantomime,  depicting  boy  departing, 
having  been  rejected  by  girl,  who  relents  on 
ins  return . Pathetic  prose  selection,  bv  Homer 
Greene,  tells  how  a mischievous  scholar  saves 
from  sudden  flood  his  teacher,  and  ot  his  own 
narrow  escape.  Both  in  one  leaflet.  5 photos. 

Cornin’  through  the  Rye.  $.25.  10  min.  r or 

many  f.  Scottish  Highland  costume.  The 
famous  song  beginning  “Gin  a Body  Meet  a 
Body,"  etc.  12  photographs. 

Conquered  Banner.  $.35.  10  min.  1 or  many 

f.  Poem  by  Father  Ryan.  Heroism  and 
pathos  are  shown  in  this  touching  farewell  to 
the  Confederate  flag.  8 photographs. 

Courtin’,  The.  $.35.  J.  R.  Lowell.  Panto- 
mimed Poem,  with  Lesson-Talk.  10  min.  im. 
2f.  Perhaps  the  greatest  Yankee  dialect 
poem.  Depicts  in  dainty  way  lovers’  bash- 
fulness and  happiness  in  proposal  scene.  10 
photographs. 

Dance  of  the  Mist  Maiden ; or,  “ Maid  of  the 
Morning  Mist.”  $1.00.  Greek  dance  and 
pantomime.  10  min.  Daphne,  maid  of  morn- 
ing mist,  discovered  by  Apollo,  sun  god,  who 
falls  in  love  with  her  and  tries  to  catch  her, 
dissolves  in  mist.  12  photographs. 

Easter  Lilies  for  Easter  Time.  $.25.  8 min. 

Poem  and  pantomime  by  Mrs.  F.  W.  Pender. 
While  specially  suitable  for  Easter,  piece  is 
good  for  any  time.  Poem  urges  offering  of 
lilies  to  the  Master  and  tells  of  lilies’  signifi- 
cance. 7 photographs. 

Fedalma’s  Dance.  $.35.  From  “The  Spanish 
Gipsy."  George  Eliot.  Pantomimed  Poem, 
with  Lesson-Talk.  10  min.  if._  Shortly  be- 
fore day  set  for  marriage  to  Spanish  nobleman, 
gipsy  girl,  ignorant  of  her  birth,  yields  to  her 
inclination  to  dance  in  market-place;  and, 
while  there,  meets  her  gipsy  chief  father,  and 
she  is  thrilled  by  consciousness  of  subtle,  but 
unknown  bond,  between  them.  Tambourine 
effects.  1 1 photographs. 


Flirts  and  Matrons.  $.25.  Comedy-Serio  Char- 
acter Sketch  Acting  Monologue.  24  min. 
Jennie  O’Neill  Potter’s  famous  monologue 
picturing  whole  life  of  society  woman:  (1) 
Nursery  girl,  (2.  college  girl;  (3)  bud;  (4) 
belle;  (5)  bride,  (6)  wife,  (7)  mother;  (8) 
grandmother.  Fine  chance  for  costuming. 
Each  part  is  complete  and  may  be  given  sep- 
arately. 6 photographs. 

Ginevra.  $.35.  Susan  Coolidge.  Dramatic 
Verse  Monologue  for  a Woman,  with  Lesson- 
Talk.  1.5  min.  Italian  story  of  wife,  forced 
to  marry  old  man,  grieved  herself  into  trance, 
and  was  buried.  Escaping  from  tomb  she, 
denied  admission  to  both  husband’s  and 
father’s  houses,  sought  lover  to  whom  the 
court  awarded  her.  1 2 photographs. 

Holy  City.  $.35.  8 min.  Poem  by  F.  E. 

Weatherly.  A vision  of  the  New  Jerusalem, 
to  which  “no  one  was  denied.”  12  photos. 

I Don’t  Know.  $.15.  10  min  im.  Study  in 

expressive  attitudes.  Nine  pantomimic  ex- 
pressions in  answer  to  nine  questions.  10 
photographs. 

1’se  Bad.  $.35.  Child  dialect.  8 min.  Poem 
and  pantomime  by  Mrs.  F.  W.  Pender.  Com- 
panion piece  to  “I’se  Dood.”  Small  girl, 
telling  of  the  naughty  things  she  does,  con- 
cludes “I’se  Bad,  I dess  I is."  15  photos. 

I’sc  Dood.  $.35.  Child  dialect.  8 nun.  Poem 
and  pantomime  by  Mrs.  F.  W.  Pender.  Com- 
panion piece  to  “I’se  Bad.”  Small  girl  tells 
why  everyone  likes  her — “Tause  I'se  Dood." 
10  photographs. 

Japanese  Fantastics.  $.75.  Pantomime  and 
drill.  Any  even  number  f.  Japanese  cos- 
tumes and  fans.  68  movements  and  atti- 
tudes. 6 pages  music.  Two  large  photo- 
graphs of  Geisha  girl  musicians  and  dancers, 
also  full-length  photograph  of  Sada  Yacco, 
the  only  Japanese  actress.  10  photographs. 

Jesus,  Lover  of  My  Soul.  $.50.  10  min.  1 to 

1 2f.  This  famous  hymn  illustrated  by  poses 
grouped  in  artistic  design,  printed  in  colored 
ink  on  heavy  enameled  paper,  16x2 3 inches, 
suitable  for  framing;  ornament  for  home, 
studio,  Sunday-school,  hall,  etc.  17  photos. 

Last  Rose  of  Summer.  $.35.  to  min.  1 or 
many  f.  Poem  by  T.  Moore.  1 2 photos. 

Lead,  Kindly  Light.  $.25.  1 or  many  f.  Car- 

dinal Newman’s  great  hymn.  Cardinal’s  por- 
trait. 9 photographs. 

I.eah,  the  Forsaken.  $.35.  Curse  Scene.  5 
min.  Jewish  costume.  Jewish  girl,  betrayed 
and  cast  off  by  gentile  lover,  is  drawn  back 
to  him;  on  passing  a church  she  listens  to 
the  music,  hut  her  softened  heart  turns  to 
stone  and  her  words  to  curses  when  she  learns 
the  wedding  music  is  for  him.  11  photos. 


PANTO  3IIMES  AND  ILLUSTRATED  READINGS  CONTINUED  ON  3d  COVER  PAGE 


68 


EMMA  DUNNING  BANES’S 


ONE  THANKSGIVING  DAY  OUT  WEST. 

’^~PWAS  a merry,  glad  Thanksgiving,  and  relations  from  the  west 
w “e\ed  Uleat  °Ur  turkey  dinner,  pumpkin  pies  and  all  the  rest, 
old  We  Watched  the  fire-Sleams>  lighting  faces  young  and 

Baby  Alice  strove  to  catch  them,  as  they  flickered,  shy  yet  bold, 

Now  retreating,  now  advancing,  now  in  shadow,  now  in  light, 

Tdl  at  last  the  baby  caught  one,  and  held  on  with  all  her  might. 

How  we  laughed  aloud  as  grandpa  roused  up  quickly  from  his  doze 
For  the  ray  of  dancing  firelight  baby  caught  was— on  his  nose. 

n. 

’Twas  a simple  thing  to  laugh  at,  but  it  made  us  all  feel  bright 

So  we  clapped  our  hands  and  shouted,  when  somebody  said : “ To-niglit 

Is  the  time  for  grandpa’s  story  that  he  promised  us  last  week.” 

Then  we  grouped  ourselves  to  listen,  while  he  cleared  his  throat  to 
speak. 

Now,  perhaps  you’ll  think  that  grandpa  was  some  very  ag&d  man, 

But,  although  we  called  him  “grandpa,”  he  was  real  y— Uncle  Dan. 
Baby  Alice  was  the  grandchild,  and  we  fell  into  her  v/ay 
- “ Grandpa-ing  ” a man  not  fifty,  with  his  dark  locks  not  yet  gray. 

III. 

How  I wish  I could  repeat  it  just  as  he  did,  with  h:3  vim ; 

timeS  he  looked  not  twenty,  in  the  fireligi  t’s  flickering  glim 
- nd  his  wife,  our  dear  Aunt  Mary,  looked  so  lovely  and  so  young 
As  she  bent  and  listened  fondly  to  that  story  from  his  tongue 
He  began  it  something  this  way : “ Let  me  see,  ’tis  thirty  year,' 
Thirty-six,  ago  last  evening,  and  a night  to  make  one  fear. 

\9  We  had  left  the  east  in  spring-time  for  the  lonely  western  wild  ■ 
y Nancy’s  parents  brought  me  with  them,  for  I was  an  orphan  child. 

IV- 

. Quick  we  built  our  lone  log-cabin,  thirty  miles  from  any  town 
sj  ^nd  our  Nan>  a bright-haired  fairy,  danced  about  in  blue  stuff  gown 
t1welve’  and  she  but  eiSht  then>  but  I loved  her  all  the  same; 

1 hough  a boy,  I hoped  to  win  her,  hoped  some  time  she’d  bear  my  name. 

1 hrough  the  golden-hearted  summer  hard  we  worked  and  were  content 
3 An  old  settler  from  the  city,  where  he  said  his  life  was  spent, 

T and  helped  us’  and  our  Nancy’s  eyes  would  open  wide  and  stare 

At  his  tales  of  western  wild  life,  tales  of  wolf  and  snake  and  bear. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.  69 


V. 

“ Of  the  first  she  seemed  most  fearful,  for  she  then  began  to  pray, 

In  her  simple  childish  fashion : ‘ Please,  Lord,  keep  the  wolves  away.’ 
Well,  the  fall  came  on  right  early,  and  it  seemed  to  me  that  Nan 
Pined  a little;  when  I asked  her  if  ’twas  so  she  said:  ‘ Now,  Dan, 

Don’t  tell  mamma,  ’cause  she’d  worry,  but  I wish  I had  a pet— 

P’rhaps  you’ll  think  I’m  always  wishing  for  something  I cannot  get— 
But,  indeed,  I think  if  only  I’d  a dog  or  little  cat, 

When  I can’t  get  girls  to  play  with,  I would  be  content  with  that.’ 

VI. 

“After  that  I’d  lie  at  night-time,  wide  awake,  and  think  and  think 
How  to  get  those  pets  for  Nancy,  for  I could  not  sleep  a wink 
Till  the  riddle  was  all  solved  out.  Then  one  day  with  boyish  pride 
Straight  I went  and  asked  the  master  could  I take  the  team  and  ride 
To  the  city,  and  gave  reasons  why  it  seemed  that  I must  go ; 

And  he  said  I’d  worked  so  faithful  that  he  could  not  say  me  no. 

So  two  days  before  Thanksgiving,  with  a load  to  sell  in  town. 

And  instructions  from  the  mistress  how  to  purchase  a new  gown, 

VII. 

“ Off  I started.  Well,  I got  there,  sold  my  load,  and  then  began 
The  real  object  of  my  journey — how  to  get  those  pets  for  Nan. 

Finally  I found  and  bought  them,  shepherd  dog  with  puppies  six, 

And  the  man  threw  in  some  kittens,  full  of  cunning  little  tricks. 

When  my  queer  load  was  all  ready  it  was  very  near  to  night, 

But  I hoped  I and  my  cargo  would  reach  home  before  daylight. 

Soon  I had  the  stars  for  company,  and  the  moon  rose  bright  and  mild ; 
For  an  hour  or  so  it  lasted,  then  there  came  a change  so  wild, 

VIII. 

“And  a storm  loomed  up  so  sudden,  I was  forced  to  take  a rest 
And  seek  shelter  in  the  forest,  and,  if  I the  truth  confessed, 

E’en  though  fear  and  I were  strangers,  it  seemed  ghostly  in  that  wild, 
And  I then  and  there  remembered,  I was  then  and  there  a child. 

How  the  wind  hoAvled  out  its  fierceness,  wailing  like  some  soul  in  pain ; 
Then  a lull  came  through  the  blackness,  and  the  storm  seemed  on  the 
wane ; 

So  I started  once  more  homeward,  talking  to  my  cats  and  dogs, 

And  I cheered  the  frightened  horses,  when  they  stumbled  over  logs 

IX. 

“ Which  the  storm  laid  in  our  pathway.  Thus  we  jogged  some  time 
along, 

While  the  wind  kept  up  its  howling,  and  I’d  try  to  sing  a song 


70 


EMMA  DUNNING  BANNS' S 


J ust  to  make  it  seem  more  ‘ f olksie.  ’ Then  the  stars  came  out  once  more, 
Everything  was  smooth  and  peaceful,  till  I heard  a sullen  roar 
So  blood-curdling  in  its  horror  that  it  chilled  me  then  and  there, 

’Twas  so  fierce  and  so  unearthly ; then— I thought  of  Nancy’s  prayer ; 
But  no  time  was  left  for  praying,  all  things  now  meant  ‘do  and  dare,’ 
For  the  famished  wolves  were  coming,  starved  and  screaming  from  their 
lair. 

X. 

“ Oh,  to  hear  the  tortured  howling  of  that  snarling,  snapping  band; 

Oh,  the  blows  I gave  my  horses,  with  no  sparing,  shrinking  hand, 

As  I stood  up  and  cried : ‘ Faster ! go  it,  faster ! O my  God  ! ’ 

How  it  all  comes  back  upon  me— till  I’m  buried  ’neath  the  sod 
Will  at  times  the  awful  terror,  of  that  horrid,  threatening  death 
Overwhelm  me,  agonize  me,  almost  seem  to  stop  my  breath. 

I made  good  use  of  my  pistol,  till  I’d  fired  off  every  shot, 

And  the  brutes  would  stop  and  wrangle,  o’er  the  one  slain  from  their  lot. 

XI. 

“ So  at  times  I gained  upon  them,  then  again  the  horrid  fray 
Was  so  close  I cried  like  Nancy,  ‘ Dear  Lord,  keep  the  wolves  away.’ 
Came  a flash  of  inspiration,  and  the  mother  with  one  pup 
Quick  I threw  the  snarling  devils,  to  fight  over  and  eat  up. 

Then  I’d  goad  the  frantic  horses,  lash  them  to  still  greater  speed, 
Threw  out  puppies,  threw  out  kittens,  though  it  seemed  a coward’s 
deed. 

Till  we  reached  the  dear  log-cabin,  with  the  daybreak’s  eastern  light, 
Just  as  my  great  hero  horses  sank  dov-Tn  dead — gave  up  the  fight. 

XU. 

“ I’d  one  kitten  and  a puppy  in  my  arms,  as  through  the  door 
In  I staggered,  and  fell  fainting,  senseless,  on  the  old  oak  floor. 

Master  said  his  little  Nannie  had  been  praying  all  the  day: 

‘ Bring  Dan  back  to  eat  Thanksgiving,  and,  Lord,  keep  the  wolves  away.’ 
One  Thanksgiving,  eight  years  later,  Nancy,  here,  became  my  wife. 
That  wee  kitten  and  that  puppy,  rolling  round  in  playful  strife, 

Are  descendants  of  the  ones  I brought  from  town  for  pets  for  Nan, 
When  the  wolves  so  nearly  made  an  end  of  uncle  * grandpa’  Dan.” 


LESSON-TALK. 

(1)  A cheerful,  animated,  conversational  manner  should  characterize 
the  greater  part  of  this  selection.  Endeavor  to  picture  to  yourself  and 
to  the  audience  your  remembrance  of  the  little  fireside  group,  and 
make  a gesture  to  the  right  wdien  commencing  line  3,  followed  in  line  5 


i OF  ILL  LIB. 


ORIGINAL  RECITATIONS  AND  LESS  ON-  TALKS. 


71 

by  such  conversational  movements  of  the  hand  as  are  best  adapted  to 
illustrate  the  meaning  of  each  clause.  On  the  words  “caught  one,”  let 
the  thumb  and  second  linger  of  the  right  hand  close  together.  Finish 
the  stanza  pleasantly. 

(2)  In  line  2 slightly  suit  the  action  to  the  word  as  you  say  “ clapped.” 
A conversational  movement  of  the  left  hand  to  engage  attention  is  per- 
missible as  you  commence  line  5.  It  is  as  though  the  idea  had  just  oc- 
curred to  you  that  there  might  be  a mistake  about  “ Uncle  Dan”  which 
it  would  be  as  well  to  rectify  before  going  further. 

(3)  Decided  admiration  colors  the  first  four  lines.  Uncle  Dan  in 
speech  is  at  first  hesitating  and  thoughtful,  as  though  trying  to  calcu- 
late the  exact  time  the  events  happened. 

(4,  5,  0,  7)  Easy  conversational  manner,  accompanied  by  correspond- 
ing gestures  used  sparingly. 

(8,  9)  Now  the  voice  changes  and  becomes  more  impassioned,  the  atti- 
tude more  advanced,  as  the  man  seems  to  lose  himself  and  re-live  his 
former  experience.  In  the  last  half  of  line  3,  ninth  stanza,  and  the 
first  half  of  line  4,  let  a gentle  smoothness  and  evenness  of  tone  charac- 
terize the  voice.  With  the  remaining  lines,  however,  all  is  changed; 
rapid  rate  and  strong  excitement  are  decidedly  evinced.  A quick 
backward  gesture  with  right  hand  will  convey  the  idea  that  the  nar- 
rator really  imagines  himself  once  more  on  the  spot,  and  that  the  wolves 
are  coming  from  their  lair. 

(10)  Now  all  is  fierce  excitement  and  terror.  The  voice  rings  out,  the 
body  is  animated  and  active  as  though  standing  up  and  shouting,  while 
the  movements  of  the  hand  and  arm  suggest  rapid  blows  made  simul- 
taneously with  the  cry  of  “ faster ! go  it,  faster ! ” All  the  muscles  are 
nerved  up  and  made  strong  and  tense  with  the  horrified  excitement  of 
the  mood  prevailing;  then  with  the  words  “O  my  God,”  a reaction 
comes,  a strong  tremor  pervades  the  frame,  the  hands  convulsively 
cover  the  face,  and  the  words  come  chokingly,  tremblingly  forth,  A 
pause  after  line  6 will  enable  one  to  seem  to  regain  self-command,  and 
so  the  stanza  is  finished. 

(11)  During  the  short  prayer  in  line  2 the  head  is  uplifted.  A double 
gesture,  as  though  throwing  something  backward,  is  permissible  on 
line  4,  and  on  the  last  half  of  line  5 another  gesture  as  though  lashing 
the  horses  may  be  made.  Rapid  rate  prevails  in  the  voice,  and  the 
gestures  must  be  made  quickly.  Designate  the  cabin  by  a forward  ges- 
ture, and  end  the  stanza  sadly. 

(12)  A descending  prone  gesture  on  the  words  “ fainting,  senseless”  is 
suggested  for  line  2.  On  line  5 a slight  movement  of  the  hand  toward 
“Aunt  Nancy,”  and  the  kitten  and  puppy  may  be  pointed  out  in  line 
8,  and  so  ends  the  action-work  of  this  selection. 


PANTOMIMES  AND  ILLUSTRATED 

Continued  from  Second  C^ver  Page 


READINGS 


Listening  Ear  of  Night.  $.25.  10  min.  i or 

many. f p°em  by  E.  H.  Sears.  Christmas 
carox  Celestial  choirs  and  angels  fill  the  air 
with  harmonies  which  fall  on  'the  “listening 
ear  of  night.  Hills  of  Palestine  send  back 
a glad  reply,  while  over  Galilee  comes  a holier 
calm.  7 photographs. 

Lotos^Eaters.  $.50.  3o  min.  3f.  Poem  by 
1 ennyson . Grecian  warriors,  returning  from 
Trojan  war,  stop  at  the  lotos  land,  eat  of  the 
rotos  become  indolent,  and  lose  desire  to  re- 
turn home,  -nay  be  given  by  three  girls  or 
any  number  of  groups  of  three.  Portrait  of 
i ennyson.  Schumann’s  “Slumber  Song” 
given,  is  photographs. 

Maud  Muller.  $.25.  io  min.  Poem  bv  Whit- 
tier  Portrait  of  Whittier,  also  cuts  of  his 
birthplace  and  residence.  5 photographs. 

My  Faith  1 Looks  up  to  Thee.  $.35.  10  min.  1 

or  more  f.  May  be  given  by  children  or  adults 
17  photographs. 

My  Mother’s  Bible  $.35.  8 min.  Poem  and 

pantomime  by  Mrs.  F.  W.  Pender.  Tells  of 
lessons  learned  from  mother  and  the  love 
- daughter  bears  for  mother’s  Bible,  from 
.vhich  -hose  lessons  were  taken.  i3  photos 
Nearer,  My  God  to  Thee.  $.50.  to  min  r or 
more  f.  Printed  in  artistic,  design  in  two 
colors  on  heavy  enameled  paper  17x2? 
inches, _ suitable  for  framing,  making  an  orna- 
ment  for  home,  studio,  Sunday-school,  hall 
etc.  Pictures  show  how  to  pantomime  the 
hymn  without  other  instruction.  22  photos. 
Old  Folks  at  Home.  $.25.  io  min.  if.  or 

many.  Poem  by  S.  Foster  Known  also  as 
Swanee  River.  Famous  pathetic  negro 
ballad.  1 5 photographs. 

PaRadiM,  -and  ^,he  Peri-  $-35.  From  “Lalla 
Rookh.  Thomas  Moore.  Pantomimed 
Poem  with  Lesson-Talk.  15  min  1 or 

many  f.  Persian  myth  of  fallen  angel'  regain- 
ing heaven  by  bringing  from  earth  a tear  of 
repentant  mortal.  10  photographs. 
p°ses  Plastipues  for  the  Little  Ones.  No.  I 
$.25.  Expression  Studies.  3o  min  1 or 

many.  Pantomime  of  Pleading,  Triumph 
Meditation,  Despair,  Defiance,  Sorrow,  Fright’ 
Dancing,  Secrecy,  Mirth,  Listening,  Watch- 
mg.  Pantomimmg  may  be  done  by  one  set 
ot  children  while  singing  is  done  by  another 
set.  xi  photographs. 

Pr,r  ^atTia'  Periotic  Prose  Recitation, 

with  Lesson -Talx  by  Ada  Ammerman.  1 5 
min.  Revolutionary  War  storv  of  girl  re- 
jecting her  British  captain  lover,  and  by 
horse-back  ride  carrying  orders  from 
Washington  to  Lee  pending  battle  at  Tren- 
ton. 9 photographs. 

Rizpnh  $.25.  15  min.  1 or  many  f.  Poem 

by  L.  Blinn.  Bible  story,  II.  Samuel  xxi 
in.  Mother  guards  from  beasts  and  birds 
ot  prey  for  days  dead  bodies  of  her  sons,  given 
biY  Da7ld  tor  atonement  for  Saul’s 

slaughtering  the  Gibeonites.  After  her  bovs 
are  buried  the  mother  is  crazed  and  dies 
crooning  to  and  rocking  an  imaginary  child 
8 photographs. 


Rock  Me  to  Sleep.  $.50.  10  min.  if.  or  manv 

Poem  by  Elizabeth  Akers.  With  hints  tor 
posing  and  photographing  poses.  10  photos. 

P°Forn°f  APS*  $'25'  T°  min-  Any  number. 
Famous  hymn  pantomimed.  An  illustration 
lor  tableau— shipwrecked  girl  clinging  to  a 
cross  m mid -ocean  is  also  given.  12  photos. 
Romance  of  the  Ganges.  $.25.  3o  min.  7f. 
Poem  by  E B Browning.  Se^en  maidens 
set  afloat  little  boats  with  lighted  lamps— if 
the  light  holds  out,  love  will  endure.  One  of 
the  lights  goes  out  and  its  owner  jumps  into 
the  river.  14  photographs. 

Rory  O’More.  $.35.  Irish  dialect.  15  min 
+ira*  3f'c  Poem,  by  S-  -Lover.  Peasant  cos- 
tume.  Scene  between  saucv  lover  and  co- 
tu  fi/1’  he  kissing  her  eight  times  and 
then  taking  another,  as  there  is  luck  in  odd 
numbers.  6 photographs. 

Rosalind’s  Surrender.  $.25.  Patriotic,  Reman - 

pLln*°n0l0gUe-  f°Va  W°man,  by  Pauline 
15  mm-  Virginia  girl,  whose  ances- 
tors fought  for  the  Stars  and  Stripes,  waves 
during  Civil  War,  Union  flag  as  her  Union 
lover  goes  by.  6 photographs. 

RoyM  Princess  $.25,  15  min.  if.  Poem  by 
L.  (j.  Rossetti.  Princess,  surfeited  with  lux- 
uries and  restless  under  restraints  of  ro\al 
position,  shows  she  has  a humane  heart,  and 
otters  to  surrender  her  jewels  in  order  to  give 
bread  to  the  starving  people.  1 1 photograohs 

RofaiS-  i-35V.,s,min-  ■ or  many.  Some 

°£ ,‘h?n  hyk?  from  this  famous  Persian 
poem  illustrated  by  poses  from  life.  10  photos, 

SCSecLVeVer*M$-S5-  Praniatic  Tragic  Pathos 
Recital,  by  N.  Hawthorne,  1}  hours.  This 
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PANTOMIMES  AND  ILLUSTRATED  READINGS  CONTINUED  ON  3d  COYER  TAGE 


ORIGINAL  RECITATIONS  AND  LESION-TALKS. 


37 


THE  MOTHER’S  EASTER  SCARF. 


1. 

CALLING  from  the  antique  chair-back  till  its  length  trailed  o’er  the 
*■  floor, 

Luring,  with  its  snowy  wavelets,  the  last  smiles  the  sunlight  bore 
Laj  the  altar  cloth  of  velvet,  all  empurpled  from  the  light 
Streaming  through  the  stained-glass  windows,  where  the  glad  sun  shone 
so  bright. 

An  Easter  scarf  turned  lenten  purple  in  that  magic  lighted  hall ! 

Violet  in  the  high  lights  gleaming,  in  the  shadows  like  a pall! 

Hinting  of  barbaric  splendor,  golden  crosses,  laces  rare 
Peeped  from  out  the  careless  foldings,  while  a sheaf  of  lilies  fair 


II. 

Spoke  a silent  message,  telling  how  our  mother,  pure  in  thought 
Sweet  and  holy  in  her  living,  had,  with  patient  fingers,  wrought’ 
All  the  stitches  of  the  lilies,  till  it  lay,  a thing  most  rare, 

Perfect  in  artistic  beauty,  trailing  from  the  ebon  chair. 

Twins  were  we  who  bent  above  it,  twin  sons  of  a grand  old  race- 
Stalwart-shouldered  like  our  father,  like  our  mother  fair  of  face  ’ 
Ethelbert’s  physique  was  perfect;  but— my  good  right  arm  was  lost 
Amputation,”  said  the  doctors,  “ or  your  life  must  pay  the  cost.” 


a 

4 

v 

■ 3 

\s 


III. 

Brother  Bert  sobbed  like  a woman.  “ Rex,  O Rex ! ” he  wildly  cried 
“All  of  this  for  me  you  suffer;  better,  far,  that  I had  died.” 

Well,  I cannot  say  I flinched  much,  as  they  bared  me  for  the  knife; 
Thought  I,  “ I have  saved  my  brother— arms  are  better  spared  than  life.” 
God  be  thanked ! the  mad  dog’s  fury  turned  on  me,  tore  me  instead ; 
This  was  why  my  brother  murmured,  “ better  far  that  I was  dead.” 

Ah,  my  noble,  loving  brother!  How  he  strove  to  give  me  care- 
Took  my  burden  on  his  shoulders,  ever  took  the  lion’s  share. 


^ IV. 

Once  I said  he  must  not  do  it ; one  arm’s  left,  I am  not  weak  ” 

It  consoles  him,”  said  my  mother,  “let  him  help  you,  do  not  speak.” 

S?  ^h’  that1  mother  •'  How  we  loved  her ! Ne’er  had  brothers  truer  friend  • 
bo  our  glances  told  each  other,  as  we  lifted  either  end 
Of  the  snowy  scarf  of  velvet,  which  our  mother  bade  us  place 
Reverently  upon  the  altar,  saying,  with  her  soft  embrace  • 

| "-r1"11 1 Wr°Ught’  my  dear  ones’  meant  a Prayer  for  each  brave 

^ Prayers  for  safety,  prayers  for  honor,  through  life’s  battles  yet  unwon. 


138 


EMMA  DUNNING  BANKS’S 


V. 

“ Every  stitch  1 prayed,  ‘ God  love  them,  keep  them  ever  ’neatli  Thine 
eye ; 

May  the  love  they  bear  each  other  strengthen  daily  till  they  die. 

May  they  on  each  Easter  morning  think  with  tender,  loving  care, 

Of  the  lenten  cloth  whose  lilies  fastened  each  a mother’s  prayer. 

Deep  within  our  young  hearts  ringing,  fell  these  words  of  love  and  truth ; 
Vowed  we  then  to  hold  them  sacred,  in  those  long-past  days  of  youth. 
Sacredly  we  kept  our  vowings,  through  the  years  that  swift  went  by ; 
Years  of  sunshine  and  of  laughter,  till  we  said  our  last  good-by 

VI. 

To  our  gentle,  high-bred  mother,  kissed  her  pale,  death -stricken  face ; 
Heard  her  murmur:  “ Love  each  other;  guard  the  honor  of  your  race.” 
Of  the  priest  we  begged  this  favor,  while  our  young  hearts  throbbed 
with  pain, 

Pleaded  that  the  altar  scarflet  back  to  us  be  given  again. 

Reverently  our  hands  received  it,  reverently  we  laid  it  down 
On  the  pillows  of  the  casket,  draped  its  soft  folds  next  her  gown, 

Curved  her  taper  fingers  gently  on  the  lilies  ’broidered  there; 

Thrilled  our  hearts  as  we  remembered,  “ each  one  fastens  down  a prayer.” 

VII. 

Governed  by  the  self-same  impulse,  silently  we  bent  the  knee, 

Praved  with  silence,  and  with  silence  rose  and  parted  silently. 

* * * * * * 

Fatine— what  a name  to  give  her— sailed  to  us,  the  letter  said, 

From  a far-off  eastern  country,  like  a message  from  the  dead. 

Daughter  of  our  father’s  school-mate,  dying  he  besought  our  care ; 
Craving  that  his  eastern  floweret  “ might  bloom  forth  in  English  air.” 
Bloom ! My  startled  senses  met  her,  as  one  greets  the  rose’s  breath, 
When  from  out  an  Iceland  winter  one  has  just  escaped  from  death. 

VIII. 

Ethelbert  was  far  in  Egypt  when  she  came  beneath  our  roof ; 

I was  all  alone  to  greet  her,  and  my  welcome  ample  proof 
Yielded  her  of  Saxon  kindness ; promised  her  a brother’s  care. 

Day  by  day  her  beauty  won  me;  each  new  dawn  found  her  more  fair, 
Roses  lurked  in  cheeks  and  dimples,  woven  sunbeams  in  her  hair ; 
Reeled  my  soul,  my  heart,  my  senses,  all  entangled  in  love’s  snare. 

Ah ! whene’er  her  eyes’  brown  splendor  held  my  own  they  thrilled  me 
through, 

Poor,  weak  fool ! I thought  she  loved  me  with  a woman’s  love  most  true. 


ORIGINAL  RECITATIONS  AND  LESSON-TALES.  139 

IX. 

Well,  it  may  be  that  she  did  so,  may  be  thought  she  loved  me  then ; 
jiod  forgive  these  fickle  women  for  the  harm  they  do  to  men ! 

Suielbert  returned  from  Egypt.  When  he  first  enclasped  her  hand, 
Gaze  I upon  her  star-like  beauty,  Destiny  then  waved  her  wand. 

LiKe  ;wo  fir  trees  locked  together  by  some  cyclone  of  the  wind, 

Eyes  co  eyes  flashed  forth  a message,  heart  to  heart  was  swift  inclined. 
And  Jthough  they  tried  and  struggled  loyally  to  keep  apart, 

Destiny  had  chanted  “ kismet;’1  each  had  won  the  other’s  heart. 

X. 

J ust  before  the  Easter  dawning,  on  a couch  I laid  to  rest, 

Nursing  bitter  thoughts  of  Fatine  and  Ethelbert  in  my  breast. 

Wnen  a faint,  sweet  eastern  perfume,  used  by  Fatine— her  alone— 
Wafted  o’er  me ; then  some  words  came,  words  which  turned  my  heart 
to  stone ; 

Up  I sprang,  stole  close,  then  listened,  listened  while  I held  my  breath. 
How  her  rippling  laughter  tingled  through  my  aching  heart  like  death! 

Wed  him?  Love  him?  No,  Ethelbert,  he  has  lost  his  good  right  arm; 
Should  his  bride  need  strong  protection,  he  could  ne’er  defend  from 
harm.  ” 

XI. 

Maddened  by  his  sneering  answer,  quick  I sprang  upon  his  breast. 

"Ha!  take  that!  and  that!  you  coward!  die  a traito-  unconfessed ! ” 
Once  and  twice  and  thrice  I stabbed  him ; ere  I left  him  knew  him  dead; 
Then  I turned  to  face  the  temptress;  she  had  seized  her  time  and  fled. 
What  a horror  froze  within  me  as  I marked  my  brother’s  face 
Softened  to  our  mother’s  semblance,  in  her  coffin’s  sad  embrace. 

Once  again  I heard  her  prayer,  “ Keep  them  ever  ’neath  Thine  eye, 

May  the  love  they  bear  each  other  strengthen  daily  till  they  die.” 

XII. 

Sinking  on  my  knees  beside  him,  " Brother,”  moaned  I,  in  remoise, 

I will  send  my  soul  to  find  thee,  die  beside  thy  murdered  corse.” 
Raising  high  once  more  the  dagger,  quick  I felt  a grasp,  a shake; 

Then  a voice  cried,  “Wake,  old  fellow!  rouse  up,  Rex!  wake,  brother, 
wake ! ” 

Waking  from  that  curse  of  nightmare,  with  a shuddering,  joyful  start, 

I beheld  my  twin,  my  brother,  clasped  him  closely  to  my  heart. 

' Tell  me  true,”  I cried  to  Fatine,  “ do  you  love  him?”  She  said,  “ yes.” 
“Speak,  my  brother?”  “Though  it  pains  you,  Rex,  the  same  I must 
confess.” 


U,  OF  ILL  LIB. 


140 


EMMA  DUNNING  BANKS'S 


XIII. 

Like  the  perfumed  breath  of  lilies,  a sweet  peace  upon  me  stole, 

As  we  heard  in  the  far  distance,  the  glad  Easter  joy  bells  toll. 

Tolling,  tolling,  rolling,  rolling,  waves  of  calm  throughout  my  soul-, 
Tolling’,  rolling,  tolling,  rolling,  till  I felt  my  heart  made  whole. 

Then  I cried:  “ That  dream  I translate  as  a warning  from  above; 
Brother,  you  can  never  pain  me!  Sister,  I am  glad  you  love.” 

Through  the  bells  our  mother’s  last  words,  given  with  her  last  embrace. 
Floated,  mingled:  “ Love  each  other;  guard  the  honor  of  your  race. 


LESSON-TALK. 

(1)  A slight  descending  gesture  during  the  latter  half  of  line  1 will 
be  followed  by  an  ascending  gesture  in  the  next  line,  suggesting  a wave 
to  designate  an  arch  on  the  appropriate  word  in  line  3.  During  the 
next  four  lines  slightly  waving  and  descending  movements  of  the  hand, 
explanatory  of  the  appearance  of  the  scarf  lying  upon  the  floor,  will 
suggest  themselves. 

(2)  Few  gestures  are  permissible  in  this  stanza;  repose  will  speak  a 
better  language.  Pride  of  birth  and  lineage  gives  coloring  to  lines  5 
and  C,  broken  by  a dash  of  strongly  repressed  feeling  after  “but,”  in 
line  7.  This  is  covered  by  the  slight  attempt  at  personification  while 
uttering  the  doctor’s  speech. 

(3)  Considerable  feeling  is  allowed  to  enter  into  lines  1 and  2,  followed 
by  a sort  of  dry  self-control  during  the  next  three  lines.  Deep  emotion 
characterizes  the  remainder  of  the  stanza. 

(4,  5)  A gesture  with  the  right  arm,  clinching  the  fist  and  allowing 
the  arm  to  come  forward  with  strength  during  line  1.  A soothing  tone 
of  voice,  with  deprecatory  movements  of  the  hand,  will  enter  appro- 
priately into  line  2.  Use  a double  gesture,  if  you  choose,  to  designate 
the  lifting  of  the  altar  scarf,  and  an  oblique  left-hand  movement  w hen 
locating  the  direction  of  the  altar.  The  mother’s  speech,  running 
from  the  closing  lines  of  the  fourth  stanza  through  the  firs*  half  of  the 
fifth  stanza,  must  be  given  with  an  earnest,  prayerful  tenderness, 
thrilling  and  vibrating  through  the  voice.  Use  backward  gesture  on 
the  words  “ years  that  swift  went  by.” 

(6)  Give  an  imploring  gesture  by  reaching  the  hands  forward,  then 
touching  with  both  hands  the  breast  on  the  word  “ us,”  in  line  4.  A 
double  supine  front  gesture  on  the  words  “ hands  received  it,”  merges 
into  a descending  prone  movement  on  the  words  “ laid  it  down.”  Finis  i 

as  though  standing  over  a casket. 

(7)  Make  a decided  pause  after  finishing  line  2 and  beginning  line  3. 
A gesture  of  location  is  permissible  on  the  words  “ eastern  country.” 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS. 


m 

The  hands  come  swiftly  together  and  as  swiftly  part,  to  give  intensity 
to  the  word  “ bloom,”  beginning  line  7. 

(8,  9)  Here,  also,  a gesture  of  location  may  be  employed  on  the  words 
“ far  in  Egypt.”  An  ascending  gesture  for  the  words  “ each  new  dawn,” 
in  line  4.  This  stanza  and  the  next  also  depend  on  strongly-marked 
facial  expression  and  the  delivering  of  the  words  with  feeling  and  in- 
tensity. In  line  4,  ninth  stanza,  a proud,  dominant  gesture  as  of  destiny 
issuing  her  decree,  may  be  followed  by  a swift  locking  of  the  arms,  and 
an  impetuous  tearing  apart,  in  order  to  wave  them  illustrating  the 
cyclone,  may  be  used ; but  I should  advise  no  gesture  whatever,  and 
should  finish  the  stanza  without  action- work. 

(10)  In  line  4 is  a startled  movement,  resting  the  hand  nervously  on 
the  heart,  to  denote  nervous  excitement.  The  attitude  becomes  vehe- 
ment, vitalized,  excited,  on  the  words  “ up  I sprang.”  A stealthy 
movement  to  the  right  on  the  words  “ stole  close,”  then  a listening  pose 
during  the  remainder  of  the  line,  hand  on  the  heart  while  saying  “ held 
my  breath.”  Intensity  of  agonized  facial  expression  during  line  6 ; then 
comes  the  scornful,  stinging  speech  of  Fatine. 

(11)  Down  an  imaginary  foe  to  the  left  in  line  1.  The  “ha”  should 
ring  out  with  maniacal  vengefulness,  and  be  prolonged ; while  the  right 
hand,  raised  high  in  air,  comes  down  with  a stabbing  blow ; then  comes 
another  and  yet  another,  on  the  words  that  follow.  A fiendish,  exultant 
spirit  colors  line  2.  A gesture  may  be  employed  to  denote  the  flight  of 
the  woman ; then  an  entire  change  to  horrified  remorse  succeeds,  on 
turning  to  look  down  again  upon  the  face  of  the  victim. 

(12)  Lean  over,  looking  downward,  while  moaning  out  the  speech  in 
lines  1 and  2.  Employ  a very  hearty  voice  for  the  personification  in 
line  4.  Let  Rex  speak  to  the  right,  while  Ethelbert  and  Fatine  speak 
to  the  left,  during  lines  7 and  8. 

(13)  The  effusive  voice  predominates  in  this  stanza.  Suggest  bell- 
tones  in  lines  3 and  4,  and  while  not  making  the  last  strongly  like  bell- 
tones,  prolong  it  and  let  it  float  upon  the  air  in  a serene  manner. 


OFF  FOR  SLUMBER-LAND. 

PURPLE  waves  of  evening  play  upon  the  western  shores  of  day, 

1 While  babies  sail,  so  safe  and  free,  over  the  mystic  slumber  sea. 
Their  little  boats  are  cradles  light ; the  sails  are  curtains,  pure  and  white 
The  rudders  are  sweet  lullabies;  the  anchors,  soft  and  sleepy  sighs. 
They’re  outward-bound  for  slumber-land  where  shining  dreams  lie  on 
ihe  sand, 

Like  whisp’ring  shells  that  murmur  low,  the  pretty  fancies  babies  know. 
And  there,  among  those  dream-shells  bright,  the  little  ones  will  play  all 
night, 

Until  the  sleepy  tide  turns;  then,  they’ll  all  come  sailing  home  again. 


A Text-Book  for  Re- 
quirements of  20th 
Century  Elocution 


Used  by  many  of  the 
Leading  Schools  in 
English-Speaking 
America 


ELOCUTION 

AND 

ACTION 


BY 

F.  Townsend  Southwick 


Lessons  are  in  sequential  order  and  furnish 
a TRUE  EVOLUTION  OF  EXPRESSION 


Book  gives  an  up-to-date  method  of  teaching  expression, — 
of  training  body  and  voice  to  express  whatever  thoughts  are 
within  the  person  to  express.  No  book  equals  this  in  con- 
ciseness, comprehensiveness,  directness,  — in  being  the 
representative  of  the  “new  elocution,”  in  contradistinc- 
tion to  the  old,  artificial,  superficial,  mechanical  elocution. 
Complete  in  itself  and  makes  another  book  unnecessary. 


Recitations  for  Practice  in  Connection  with  the  Lessons 

"Adams  and  Jefferson,”  "Against  Whipping  in  the  Navy,”  "Alexander  Ypsilanti,”  "Battle  of 
Naseby,”  " Bells  of  Shandon,”  "Brutus  on  the  Death  of  Caesar,”  "Chambered  Nautilus,” 
" Charge  of  the  Light  Brigade,”  " Christmas  Party  at  Scrooge’s  Nephew’s,”  " Dedication  of 
Gettysburg  Cemetery,”  "Discontented  Pendulum,”  "Duel,”  "Echo  and  the  Ferry,”  “Facilis 
Descensus,”  "Fox  at  the  Point  of  Death,”  “Hamlet’s  Instruction  to  the  Players,”  "Herve 
Riel,”  “Incident  of  the  French  Camp,”  "Langley  Lane,”  "Leper,”  "Little  Stowaway,”  "Man 
in  the  Moon,”  “Marmion  and  Douglas,”  "Mice  at  Play,”  ‘Mont  Blanc  Before  Sunrise,”  "Origin 
of  Roast  Pig,”  “Owl  and  the  Bell,”  "Owl  Critic,”  “Palmer’s  Vision.”  "Plain  Tale  of  1893,” 
"Portia’s  Speech  on  Mercy.”  “Prodigal  Con,”  "Reading-for  the  Thought,”  "Scene  from ‘Julius 
Caesar,’”  ,fScene  from  ‘ The  Rivals,’”  " Star  Spangled  Banner,”  “Supporting  the  Guns,” 
"Sweet  and  Low,”  “Sympathy  with  the  G.ceks,”  "Selection  from  ‘A  Tramp  Abroad,”’  "Twenty- 
Third  Psalm,”  "Two  Views  of  Christmas,”  "Wind  and  the  Moon.” 


Also  Other  Selections 

"Americanism,”  "Destruction  of  Sennacherib,”  "Forging  of  the  Anchor,”  “France  and  Rocham- 
beau,”  "Fugitives,”  "Good  Courage,”  “Great  Schools  of  the  World,”  "Hand-Car  412.”  "Hunt- 
ing Song,”  "If  Mother  Would  Listen.”  "I’m  With  You  Once  Again,”  "Issues  of  the  Transvaal 
Question,”  "Liberty,”  “Lilies  at  Queens’  Gardens,”  "March  of  Company  A,”  “Mince  Pies.” 
*X)ld  Flag.”  "Other  Side  of  the  Case,”  “Plea  for  Cuban  Liberty,”  "Religion  of  Trooper  Peter 
Halket,”  “Rome  and  Carthage,”  "Sermon  on  the  Mount,”  "Shylock  to  Antonio,”  “Song  of  the 
Chattahoochee,”  "Speech  of  Black  Hawk,”  " Sultan’s  Career,”  "Tea-kettle  and  the  Cricket,” 
"Whip-Poor-Will,”  "William  McKinley, ” “You  Never  Can  Tell.” 

WELL  PRINTED  AND  BOUND  IN  CLOTH.  75  CENTS.NET 


WERNER’S  READINGS  AND  RECITATIONS 

NO.  40 


U 


Hbanbsfltving  Celebrations 


Splendid  Collection  of  Recitations,  Songs,  Entertainments,  Action 
Poems,  Action  Songs,  etc.,  Specially  Suitable  for  Thanksgiving, 
but  also  Good  for  Any  Time  of  the  Year  and  for  Any  Occasion. 

Bv  STANLEY  SCHELL. 

IRecitattons  in  the  Bool? 


Around  Thanksgiving  Time. 

Birth  of  Our  Thanksgiving  Day. 

Blue  Beard,  Story  of. 

C.iild’s  Thanksgiving. 

Country  Thanksgiving. 

Elder  Sniffles’s  Thanksgiving  Dinner. 
Farmer  John’s  Thanksgiving. 

Feast  Time  of  the  Year. 

First  Thanksgiving  (2  pieces). 

First  Thanksgiving  Day. 

Five  Kernels  of  Corn. 

Freedom’s  Thanksgiving  Day. 

Give  Thanks. 

Gossip  of  the  Nuts, 
llis  Riches. 

His  Thanksgiving  Dream. 

Home  for  Thanksgiving. 

Ichabod  Crane  at  fleer  van  Tassel’s  Dinner 
Party. 

I’ll  be  at  Home  Thanksgiving. 

In  Football  Times. 

Ingin  Summer. 

John  White’s  Thanksgiving. 

Joseph’s  Story. 

Kitty’s  Thanksgiving. 

Little  Pilgrim. 

Little  Turkey  Gobbler. 

“Makin’  Things  A-Purpose  to  be  Efc.” 
Making  Jack-o’-Lanterns. 

Miner’s  Thanksgiving. 

Mv  Thanksgiving. 

“My  Tumick’s  Got  a Pain.” 

Neddie’s  Thanksgiving  Visit. 

Night  Before  Thanksgiving. 

Pessimistic  Gratitude. 


Pumpkin  Pie. 

Reasons  for  Thanks. 

Scripture  Readings. 

Signs  of  the  Times. 

Story  of  the  Pilgrims  (2  pieces). 
Tanksgibbin  Turkey. 

Thank  the  Creator,  not  the  Created. 
Thankful  for  What? 

Thankful  Frog  and  Unthankful  Cat. 
Thanksgivin’. 

Thanksgiving  (4  pieces). 
Thanksgiving  Chicken. 

Thanksgiving  Day. 

Thanksgiving  Dinner. 

Thanksgiving  Gourmand. 
Thanksgiving  in  Old  Virginia. 
Thanksgiving  in  the  Gold  Diggings. 
Thanksgiving  Legend. 

Thanksgiving  Lesson. 

Thanksgiving  Magician. 

Thanksgiving  on  Herring  Hill. 
Thanksgiving  Philosophy. 
Thanksgiving  Ride  of  the  Pumpkins. 
Thanksgiving  Sermon. 

Thanksgiving  Song  for  Little  Folks. 
Thanksgiving  Story. 

Thanksgiving  Wooing. 

Tit  for  Tat . 

Tommybob’s  Thanksgiving  Vision. 
Tommy’s  Dinner. 

Tommy’s  Thanksgiving. 

Turkey  of  Life. 

What  Makes  Thanksgiving  Day. 
Where  the  Mince  Pie  Grows. 

Why? 

Witch’s  Daughter. 


President’s  Thanksgiving  Proclamation. 

Pumpkin. 

Entertainments  in  tbe  Eoofe 

Tl^l  iviUfi  m 22  (historical  exercise,  6 children)— Brownie  Drill  and  Song  (6  children)— Dumb- 
w c1?  !•  6 chlldren)— Feast  lime  of  the  Year  (exercise,  5 children)— For  the  Jolly  Jack-o’-Lan- 
tcrns  (action  song  for  3 boys,  3 girls) — Josephs  Story  (entertainment,  2 boys,  2 girls,  and  4 small 
c idJren)  Mayflower  (acrostic,  9 children)- -Pantomime  of  Witch’s  Daughter  (lm,  If  with  reader 
of  text  and  several  supes)  Pumpkin-Pie  (acrostic,  10  children) — Pumpkin-Pie  Makers  (entertain- 
m^nt,  any  number)  Spellers  (acrostic,  10  children) — Story  of  a Seed  (entertainment,  5 children)' 
Thanksgiving  (acrostic,  12  children) — Thanksgiving  Day  (acrostic,  12  children  or  1 child) — Thanks- 
giving Lesson  (play,  4 girls)— Three  Little  Cooks  (entertainment,  3 girls)— Thanksgiving  Enter- 
tainment (pictures,  past  and  present  of  Thanksgiving  Day) — Thanksgiving  Entertainment  (pictures 
in  song,  recitations,  essay,  proclamation,  exercises,  etc.,  history  of  Thanksgiving,  from  beginning 
to  the  present)  Thanksgiving  Entertainment  for  Primary  Grades  (consists  of  acrostics,  songs  reci- 
tations,  exercises,  motion  song,  concert  recitation,  quotations)— Thanksgiving  Program  (consists 
rpL  chorus,_  dialogue,  drill,  pantomime,  recitations) — Thanksgiving,  Then  and  Now  (play,  2m  2f) — - 
Thanksgiving  Toasts— What  Each  is  Thankful  For  (exercise,  2 boys,  5 girls). 

Sonos  in  tbe  Eoofc 

Songs  with  Both  Words  and' Music:  God  Bless  Our  Native  Land— Heigh  Ho!  for  Thanksgiving 
ThanWW'  °f  fhe  TTllgrimf~l>  Song— Thanksgiving— Thanksgiving  Day  is  Here  Once  More-? 

5 f f°rLT  IIa7est— Thanksgiving  Hymn— Thanksgiving  Song— Thanksgiving  Turkey— 

°la  H°usekeepmg  Turn  Songs  with  Words  Only , Tunes  Suggested:  For  the  Jolly  Jack 
o Lanterns  Once  More  We  Hail  Thee — Spellers — What  Makes  Thanksgiving  Day. 

Price,  35c.  in  paper,  6oc.  in  cloth  binding,  postpaid 


Entertainment  Novelties 


Aladdin;  ~6f,  The  Wonderful  Lamp. 

35c.  i hour  or  more  (according  to  specialties 
introduced).  H.  E.  Hard  and  Stanley  Schell. 
Romantic  juvenile  play.  Any  number. 
Chinese  costumes,  recitations,  and  .Little 
Ting-a-Ling's  March,  Drill  and  Song.  ’ 

At  the  Golden  Gates.  $1.  is  min. 

Poem  by  Father  Ryan;  pantomime  by 
Helen  Schuster.  Pantomimed  song  telling 
of  a day  when  the  soul  shall  reach  great 
heights.  Full  music  and  directions  and  23 
photos. 

Dance  of  Mist  Maiden.  $1.  10  min 

Greek  costume  dance  and  pantomime,  with 
full  directions  by  Cozette  Keller,  bringing  in 
Daphne  and  Apollo.  Full  music  and  12 
photos. 

English  Hussars’  March.  50c.  15  min. 

G D Bishop.  Military  march  or  drill,  16  m. 
or  f.  Uniforms,  swords.  Suitable  for  dances, 
schools,  etc.  Full  directions,  diagrams,  and 
music. 

Fairy  Revel  and  Rainbow  Tableau. 
35c.  is  min.  H.  Lottner.  Musical  enter- 
tainment, with  drill,  drama,  tableaux,  musi- 
cal recitation,  etc. 

Fete  in  Flowerland.  40c.  1 hour. 

A.  E.  Allen.  Flower  operetta  for  any  number 
of"  children.  Flowers  sing  and  act  out  thought s 
in  songs.  Full  directions  and  music. 

Hu=man=o=phone ; or,  Human  Music 
Sheet.  75c.  30  min.  or  longer  if  desired. 

Stanley  Schell.  Burlesque  musical  enter- 
tainment. Faces  peep  through  note-holes  in 
musical  staff  on  sheet.  Full  directions  and 
music. 

Japanese  Fantastics.  75c.  2o  min. 

Japanese  costume  pantomime  and  drill.  68 
movements  and  attitudes.  Two  large  group 
photos  of  Geisha  girls,  io  attitude  photos, 
portrait  of  Sada  Yacco  (famous  Japanese  ac- 
tress), and  full  music. 

LotoS=EaterS.  50c.  30  min.  Poem  by 

Tennyson ; pantomime  by  Myra  Pollard. 
3 f.  or  any  number  of  groups  of  3 f.  Greek 
costumed  pantomimed  poem.  Schumann’s 
“Slumber  Song"  and  15  photos.  Original 
landscapes  and  borders.  Printed  m 3 colors. 

Molly’s  Pre-Nuptial  Flirtation.  $1. 

•JO  min.  Poems  by  G.  A.  Baker;  poses  and 
directions  by  Cozette  Keller.  Society  costume 
verse  monologue  in  four  scenes  (one  or  all 
may  be  given).  Can  be  given  by  woman  or 
by  a man  as  burlesque.  Full  directions  and 
13  photos. 


National  Ball=Room  March.  50c. 

10  min.  G.  D.  Bishop.  Any  number  of 
couples.  Picturesque  march  and  novel  figures 
for  ball-room  or  parlor.  Full  directions  and 
diagrams. 

Needles  and  Pins.  50c.  5 min. 

Pantomimed  song  or  dialogue,  1 m.  1 f..  or 

2 f.  Full  music,  directions,  and  6 photos. 

Proserpina.  50c.  I hour.  M.  Lawton. 
Mythological  operetta.  5 scenes.  Any  num- 
ber. Greek  myth  giving  origin  of  Summer 
and  Winter.  Introduces  “Dance  of  the 
Nymphs.’’  Full  directions  and  music. 

Pussies’  Parliament.  35c.  30  min. 

Humorous  cat  concert.  5 children  or  5 grpups 
of  children,  costumed  as  cats.  Full  direc- 
tions and  music. 

Rock  Me  to  Sleep.  50c.  TO  min. 

Poem  by  Elizabeth  Akers,  pantomime  by 
Lucy  Harris.  Pantomimed  song.  Full  music 
and  10  photos. 

Sailors’  Entertainment.  25c.  s. Schell. 

Musical  entertainment.  1 hour.  Any  num- 
ber m.  and  guests.  Ship-deck  scene.  Oars, 
ropes,  barrels,  horns  required.  Each  of  the 

3 scenes  may  be  given  separately.  Includes 
drills,  marches,  hornpipes,  solos,  recitations. 

Santa  Claus.  40c.  1}  hours.  W.  C. 

Ellis  Children’s  operetta;  2 scenes,  i adult, 
7 children  and  fairies.  Full  directions  and 
music. 

St.  Valentine’s  Day  Program.  35c. 

1 hour.  H.  C.  Waterhouse.  Musical  enter- 
tainment. Any  number.  Songs,  recitations, 
dialogues,  etc.  Full  directions  and  music. 

Tableaux  Mouvants  & Poses  Plas= 
tiques  No.  2.  25c.  M.  V.  Jenkins,  J.  E. 

MacLean.  Contains  statue-pose  groups: 
“Birds  Singing  Gaily,”  “Charm  from  the 
Skies.  ' “Cupid’s  Captives,”  “Dance  of  the 
Flowers,”  “Diana’s  Hunting  Party.”  “Fare- 
well to  Home,”  “Heavenly  Home,”  “In 
Sight  of  Home,”  “Revel  of  the  Muses,”  “Study 
in  Attitude,”  “Sun  Worshippers,”  “Wise  and 
Foolish  Virgins." 

Ten  Little  Nigger  Boys.  25c.  Comedy 

negro  drill  and  action  song,  io  min.  Full 
directions  and  music. 

Venetian  Flower  Dance.  50c.  J5 

min.  G.  D.  Bishop.  Spectacular  dance 
or  drill,  with  garlands  on  flower-covered 
hoops.  24  f.  Full  directions,  diagrams,  and 
music. 

Yellow  Peril.  $1.  i£  hours.  Words 
by  A.  R.  Caldwell;  music  by  A.  L Nance. 
Comic  opera.  3 acts,  7 m.,  3 f.,  or  all  f.  Deals 
with  late  Russo-Japanese  war.  Complete 
words  and  music. 


READINGS 


PANTOMIMES  AND  ILLUSTRATED 

Continued  from  Second  Cover  Page 


Listening  Ear  of  Night.  $.25.  io  min.  i or 
many  f%  Poem  by  E.  H.  Sears.  Christmas 
carol.  Celestial  choirs  and  angels  fill  the  air 
with  harmonies  which  fall  on  the  “listening 
ear  of  night.”  Hills  of  Palestine  send  back 
a glad  reply,  while  over  Galilee  comes  a holier 
calm.  7 photographs. 

Lotos-Eaters.  $.50.  30  min.  3f.  Poem  by 

Tennyson.  Grecian  warriors,  returning  from 
Trojan  war,  stop  at  the  lotos  land,  eat  of  the 
lotos,  become  indolent,  and  lose  desire  to  re- 
turn home.  May  be  given  by  three  girls  or 
any  number  of  groups  of  three.  Portrait  of 
Tennyson.  Schumann’s  “Slumber  Song” 
given.  1 5 photographs. 

Maud  Muller.  $.25.  10  min.  Poem  bv  Whit- 

tier. Portrait  of  Whittier,  also  cuts  of  his 
birthplace  and  residence.  5 photographs. 

My  Faith  Looks  up  to  Thee.  $.35.  10  min.  1 

or  more  f.  May  be  given  by  children  or  adults. 
17  photographs. 

My  Mother’s  Bible.  $.35.  8 min.  Poem  and 

pantomime  by  Mrs.  F.  W.  Pender.  Tells  of 
lessons  learned  from  mother  and  the  iove 
daughter  bears  for  mother’s  Bible,  from 
which  those  lessons  were  taken.  13  photos. 

Nearer,  My  God  to  Thee.  $.50.  to  min.  1 or 
more  f.  Printed  in  artistic  design  in  two 
colors  on  .heavy  enameled  paper,  17  x 25 
inches,  suitable  for  framing,  making’ an  orna- 
ment for  home,  studio,  Sunday-school,  hall, 
etc.  Pictures  show  how  to  jjantomime  the 
hymn  without  other  instruction.  22  photos. 

Old  Folks  at  Home.  $.25.  10  min.  if.  or 

many.  Poem  by  S.  Foster  Known  also  as 
S’wanee  River.”  Famous  pathetic  negro 
ballad.  1 5 photographs. 

Paradise  and  the  Peri.  $.35.  From  ‘‘Lalla 
Rookh.  Thomas  Moore.  Pantomimed 
Poem,  with  Lesson-Talk.  15  min.  1 or 
many  f.  Persian  myth  of  fallen  angel  regain- 
ing heaven  by  bringing  from  earth  a tear  of 
repentant  mortal.  10  photographs. 

Poses_  Plastioues  for  the  Little  Ones.  No.  I. 
$.25.  Expression  Studies.  30  min.  x or 
many.  Pantomime  of  Pleading,  Triumph 
Meditation,  Despair,  Defiance,  Sorrow,  Fright’ 
Dancing,  Secrecy,  Mirth,  Listening,  Watch- 
ing. Pantomiming  may  be  done  by  one  set 
of  children,  while  singing  is  done  by  another 
set.  11  photographs. 

Pro  Patria.  $.35.  Patriotic  Prose  Recitation, 
With  Lesson-Talk  by  Ada  Ammerman.  15 
min.  Revolutionary  War  storv  of  girl  re- 
jecting her  British  captain  lover,  and  by 
daring  horse-back  ride  carrying  orders  from 
Washington  to  Lee  pending  battle  at  Tren- 
ton. 9 photographs. 

Rizpah.  $.25.  15  min.  1 or  many  f.  Poem 

by  L.  Blinn.  Bible  story,  II.  Samuel  xxi, 
I7ir*  Mother  guards  from  beasts  and  birds 
of  prey  for  days  dead  bodies  of  her  sons,  given 
by  King  David  for  atonement  for  Saul's 
slaughtering  the  Gibeonites.  After  her  boys 
are  buried  the  mother  is  crazed  and  dies 
crooning  to  and  rocking  an  imaginary  child. 

8 photographs. 


Address  the  Publishers,  EDGAR  S. 


Rock  Me  to  Sleep.  $.50.  10  min.  if.  or  manv 

Poem  by  Elizabeth  Akers.  With  hints  tor 
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A Text-Boon  lor  Re- 
quirements of  20th 
Century  Elocution 


Used  by  many  of  the 
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ELOCUTION 

AND 

ACTION 


BY 


F.  Townsend  Southwick 


Lessons  are  in  sequential  order  and  furnish 
a THUE  EVOLUTION  OF  EXPRESSION 


Book  gives  an  up-to-date  method  of  teaching  expression,— 
of  training  body  and  voice  to  express  whatever  thoughts  are 
within  the  person  to  express.  No  book  equals  this  in  con- 
ciseness, comprehensiveness,  directness,  — in  being  the 
representative  of  the  “new  elocution,”  in  contradistinc- 
tion to  the  old,  artificial,  superficial,  mechanical  elocution. 
Complete  in  itself  and  makes  another  book  unnecessary. 

Recitations  for  Practice  in  Connection  with  the  Lessons 

“Adams  and  Jefferson,”  “Against  Whipping  in  the  Navy,”  “Alexander  Ypsilanti”  ‘‘Battle  of 
Naseby,”  “ Bells  of  Shandon,”  “ Brutus  on  the  Death^of  Caesar.  Chambered  Nautilus, 
“Charge  of  the  Light  Brigade,”  “ Christmas  Party  at  Scrooge  s Nephew  s.  Dedication  of 
Gettysburg  Cemetery,”  “Discontented  Pendulum,”/  Duel,”  Echo  and  the  Ferry  Facilis 
Descensus,”  “Fox  at  the  Point  of  Death,”  “ Hamlet’s  Instruction  to  the  Players,  „Herve 
Riel,”  “Incident  of  the  French  Camp,”  “Langley  Lane”  Leper.  Little  Stowaway,  Man 
in  the  Moon,”  “Marmion  and  Douglas,”  “Mice  at  Play,”  ‘ Mont  Blanc  Before  Sunrise  Origin 
of  Roast  Pig,”  “Owl  and  the  Bell,”  “Owl  Critic,”  Palmer’s  Vision  Plain  Tale  of  1893, 
“Portia’s  Speech  on  Mercy.”  “Prodigal  Son,”  “Reading  for  the  Thought,  Scene  from  Julius 
Caesar,’  ” ‘rScene  from  ‘ The  Rivals,’”  “ Star  Spangled  Banner  Supporting  the  Guns, 
“Sweet  and  Low,”  “Sympathy  with  the  Greeks,  Selection  from  A Tramp  Abroad,  Iwenty- 
Third  Psalm,”  “Two  Views  of  Christmas,”  “Wind  and  the  Moon. 

Also  Other  Selections 

"Americanism,”  “Destruction  of  Sennacherib.”  “Forging  of  the  Anchor”  “France  and  Rocham- 
beau,”  “Fugitives,”  “Good  Courage,”  “Great  Schools  of  the  World.  Hand-Car  412.  Hunt- 
ing Song,”  “If  Mother  Would  Listen.”  “I’m  With  You  Once  Again,  Issues  of  .the  Transvaal 
Question,”  “Liberty,”  “Lilies  at  Queens’  Gardens.”  March  of  Company  A,  Mince  Pies, 
“Old  Flag.”  “Other  Side  of  the  Case,”  “Plea  for  Cuban  Liberty,  Religion  of  Trooper  Peter 
Halket,”  “Rome  and  Carthage,”  “Sermon  on  the  Mount,”  ’ Shylock  to  Antonio  Song  of  the 
Chattahoochee,”  “Speech  of  Black  Hawk,”  Sultan’s  Career,”  Tea-kettle  and  the  Cricket. 

“ Whip-Poor-Will,”  “William  McKinley,”  “You  Never  Can  Tell. 


WELL  PRINTED  AND  BOUND  IN  CLOTH,  75  CENTS.NET 

ADDRESS  THE  PUBLISHERS 


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While  specially  suitable  for  Easter,  piece  is 
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fore day  set  for  marriage  to  Spanish  nobleman, 
gipsy  girl,  ignorant  of  her  birth,  yields  to  her 
inclination  to  dance  in  market-place;  and, 
while  there,  meets  her  gipsy  chief  father,  and 
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the  music,  but  her  softened  heart  turns  to 
stone  and  her  words  to  curses  when  she  learns 
the  wedding  music  is  for  him.  t 1 photos. 


S CONTINUED  ON  3d  COYER  PAGE 


142 


EMMA  DUNNING  BANES’S 


MONEY  MUSK. 


i. 

A H ! the  buxom  girls  that  helped  the  boys— 
^ The  nobler  Helens  of  humbler  Troys — 
As  they  stripped  the  husks  with  rustling  fold 
From  eight-rowed  corn  as  yellow  as  gold, 

By  the  candle-light  in  pumpkin  bowls, 

And  the  gleams  that  showed  fantastic  holes 
In  the  quaint  old  lantern’s  tattooed  tin, 

From  the  hermit  gleam  set  up  within. 


II. 


0 

- 


,3y  the  rare,  rare  light  in  girlish  eyes, 

As  dark  as  wells  or  as  blue  as  skies ; 

I hear  tne  Laugh  when  the  ear  is  red, 

I see  the  blusn  when  the  forfeit’s  paid ; 
The  cedar  cakes  with  the  ancient  twist, 
The  cider  cup  that  the  girls  have  kissed. 
And  I see  the  fiddler  through  the  dusk, 

As  he  twangs  the  ghost  of  “ Money  Musk.” 

III. 

The  boys  and  girls,  in  a double  row, 

Wait  face  to  face  till  the  magic  bow 
Shall  whip  the  tune  from  the  violin, 

And  the  merry  pulse  of  the  dance  begin. 

Dance. 

[Play  first  strain  once.] 


ORIGINAL  RECITATIONS  AND  LESSON-TALES . 143 


In  shirt  of  check,  and  tallowed  hair, 

The  fiddler  sits  in  the  bulrush  chair 
Like  Moses’  basket  stranded  there 

On  the  brink  of  Father  Nile. 

IV. 

[Repeat  first  strain.] 

He  feels  the  fiddle’s  slender  neck, 

Picks  out  the  notes  with  thrum  and  check, 

And  times  the  tune  with  nod  and  beck, 

And  thinks  it  a weary  while. 

[Play  second  strain.] 

“All  ready!"  Now  he  gives  the  call, 

Cries,  “ Honor  to  the  ladies  all!" 

The  jolly  tides  of  laughter  fall 

And  ebb  in  a happy  smile. 

V. 

[Repeat  second  strain.] 

D-o-w-n  comes  the  bow  on  every  string, 

“First  couple  join  right  hands  and  swing!" 

As  light  as  any  bluebird’s  wing 

“ Swing  once  and  a,  half  times  round!" 

[Play  first  strain.] 

Whirls  Mary  Martin,  all  in  blue— 

Calico  gown  and  stockings  new, 

And  tinted  eyes  that  tell  you  true, 

Dance  all  to  the  dancing  sound. 

VI. 

[Repeat  first  strain.] 

She  flits  about  big  Moses  Brown, 

Who  holds  her  hands  to  keep  her  down, 

And  thinks  her  hair  a golden  crown, 

And  his  heart  turns  over  once. 

[Play  second  strain.] 

His  cheek  with  Mary’s  breath  is  wet, 

It  gives  a second  somerset ! 

He  means  to  win  the  maiden  yet, 

Alas!  for  the  awkward  dunce i 


1 


144 


EMMA  DUNNING  BANKS'S 


VII. 

[Repeat  second  strain.] 

“ Tour  stoga  boot  has  crushed  my  toe ! 

I’d  rather  dance  with  one-legged  Joe, 

You  clumsy  fellow ! ” “ Bass  below ! ” 

And  the  first  pair  dance  apart. 

[Plaj-  first  strain.] 

Then  “ Forward  six!”  advance,  retreat, 

Like  midges  gay  in  sunbeam  street; 

’Tis  Money  Musk  by  merry  feet 

And  Money  Musk  by  heart! 

VIII. 

[Repeat  first  strain.] 

“ Three  quarters  round  your  partner  string! 

Across  the  set!  ” The  rafters  ring, 

The  girls  and  boys  have  taken  wing, 

And  have  brought  their  roses  out ! 

[Play  second  strain.] 

’Tis  “ Forward  six  ! ” With  rustic  grace, 

Ah  ! rarer  far  than — “ Swing  to  place  ! ” 

Than  golden  clouds  of  old  point-lace, 

They  bring  the  dance  about. 

IX. 

[Repeat  second  strain.] 

Then  clasping  hands  all — ^ Right  and  left!” 

All  swiftly  weave  the  measure  deft 
Across  the  woof  in  loving  weft, 

And  the  Money  Musk  is  done ! 

—Benjamin  F.  Taylor. 


LESSOX -TALK. 

(1)  Begin  with  a brisk  conversational  movement.  A gesture  as  of 
rapidly  husking  an  imaginary  ear  of  corn  will  enter  appropriately  as 
action-work  in  line  3.  Xo  gestures  necessary  for  rest  of  stanza. 

(2)  On  the  words  “dark  as  wells,”  make  a descending  prone  gesture 
with  the  right  hand,  merging  into  one  in  the  ascendant  on  the  words 
“blue  as  skies.”  Incline  the  head  with  right  ear  obliquely  to  the  right 
as  though  listening,  and  poise  the  right  hand  in  air  in  such  a manner 
as  to  convey  that  idea,  as  you  say  “ I hear  the  laugh  when  the  ear  is 


" 0P  'LL  LIB. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.  145 


red.”  Turn  the  head  swiftly,  and  shade  the  eyes  with  the  hand,  as  you 
say  “ I see  the  blush  when  the,”  then  make  a brief  pause  and,  using  the 
fingers  of  the  right  hand  to  lightly  waft  a kiss,  say  ‘ forfeit’s  paid.  ’ A 
little  twisting  gesture  is  suggested  in  line  5.  bean  forward  with  ani- 
mation as  you  point  out  “ the  fiddler  through  the  dusk.”  Bring  out 
the  word  “ twangs”  with  the  peculiar  sound  descriptive  of  its  meaning. 

(3)  Again  lean  forward,  and  with  enthusiastic  zeal  point  out  and 
describe  the  pretty  picture  of  “the  boys  and  girls  in  a double  row.” 
As  you  say  “whip  the  tune”  make  a gesture  as  of  drawing  the  bow 
down  the  strings  of  an  imaginary  violin,  and  make  the  word  “ whip  1 
bright  and  picturesque.  Now  comes  the  intoning  to  the  music  of 
Money  Musk,  and  for  particular  directions  regarding  such  work  the 
reader  is  referred  to  the  Lesson-Talks  on  “ Two  Thanksgiving  Dances” 
and  “ The  Soldier’s  Joy,”  on  pages  107  and  72.  It  will  suffice  to  repeat 
that  you  must  patiently  and  carefully  fit  the  words  and  syllables  of 
words  to  the  music,  keeping  the  voice  down,  as  it  is  not  desired  that 
you  sing,  but  that  you  intone.  With  the  forward  right  foot,  beat  the 
time  to  words  and  music,  as  you  point  out  and  describe  the  fiddler. 
For  these  gestures  use  the  right  hand. 

(4)  Left  hand  and  arm  are  here  outstretched  to  hold  the  violin,  while 
the  fingers  suit  the  action  to  the  word  as  you  say,  “ He  feels  the  fiddle’s 
slender  neck.”  Let  the  head  nod  in  sympathy  as  he  “ times  the  tune,” 
and  “ thinks  it  a weary  while.”  The  first  strain  of  music  is  played  twice 
while  intoning  the  above.  Call  out  “ all  ready  ” in  stentorian  tones,  as 
the  fiddler  gives  the  call.  Make  the  prompter’s  shout  of  “ honor  to  the 
ladies  all”  very  heavy,  and  accompany  it  with  the  gesture  of  drawing 
the  bow  up  and  down  the  strings.  Pick  up  the  skirts  daintily,  and  in- 
troduce little  dancing-steps  as  you  intone  the  rest  of  this  stanza,  keep- 
ing your  eyes  upon  the  dancers  and  seeming  to  dance  in  sympathy 
with  them. 

(5)  Shout  the  calls  in  masculine  tones,  and  make  gesture  of  holding 
the  fiddle  and  drawing  the  bow.  Between  the  calls  point  out  “ Mary 
Martin  ” where  she  whirls  “ as  light  as  any  bluebird’s  wing.”  Whirl 
around  and  dance  as  you  describe  the  coquettish  young  girl.  This 
action- work  may  be  made  very  pretty. 

(6)  Beat  time  with  right  foot  as  you  point  out  and  describe  the 
maiden  flitting  “ about  big  Moses  Brown.”  A swift,  light  gesture  will 
give  significance  to  the  words  “golden  crown.”  With  the  left  hand 
near  the  heart  make  fluttering  movement,  as  you  say  “ his  heart  turns 
over  once.”  Now  you  are  rested  you  may  introduce  dancing-move- 
ments again.  The  heart-gesture  may  be  varied  by  tapping  the  left 
hand  lightly  with  the  right,  as  you  laughingly  say  “ it  turns  a second 
somerset ! ” 

10 


146 


EMMA  DUNNING  BANKS'S 


(7)  While  dancing  back  and  forth,  let  Mary’s  speech  come  out  above 
the  music  in  a shrill  high  falsetto,  very  much  vexed  in  tone.  Shaking 
the  head  angrily,  put  strong  emphasis  on  the  words  “ you  clumsy  fel- 
low,” then  using  the  fiddle  and  bow,  interrupt  with  the  heavy  call 

pass  below.”  Dwell  on  this  call,  and  should  your  accompanist  fail  to 
do  so,  instruct  him  to  hold  the  corresponding  note  accordingly.  These 
notes  are  to  be  found  in  the  second  strain,  seventh  measure,  and  are  re- 
spectively D,  G,  and  F sharp;  a hold  should  be  made  on  the  F sharp. 
Repeat  call  and  gesture  on  the  words  “ forward  six ; ” then  dance  for- 
ward and  back  and  courtesy  as  you  finish  the  stanza. 

(8)  Deliver  this  call  in  a voice  to  “ make  the  rafters  ring.”  Right  here 
it  may  be  well  to  say  that  an  opposition  of  the  head  and  arm  appears 
well,  and  seems  to  help  out  the  spirit  of  abandon  when  drawing  the 
bow  over  the  strings.  As  the  hand  conies  up  the  head  inclines  toward 
it,  moving  slightly  down,  and  as  the  hand  comes  down  the  head  goes 
up  again.  Beat  time  with  the  right  foot,  but  do  not  dance  while  de- 
scribing the  dancers.  Between  the  calls  dancing-movements  are  intro- 
duced. Graceful  floating  movements  of  the  hands  and  arms  will  de- 
scribe “golden  clouds  of  old  point-lace.” 

(9)  Always  remember  to  accompany  the  shouting  call  of  the  prompter 
with  the  necessary  gesture  to  represent  his  work.  Giving  first  right 
hand,  then  left,  simulate  the  grand  right  and  left,  if  you  wish,  and 
close  with  a low,  sweeping  courtesy  on  the  words  “ the  Money  Musk  is 
done ! ” 


MEMORIAL  DAY  AT  THE  FARM. 

I. 

/“PHAT  year  the  apple-blooms  came  late,  late  in  the  month  of  May; 

1 While  fleecy  clouds  skimmed  o’er  the  blue,  that  Decoration  Day. 
A tropic  sun  shone  in  the  sky,  and  warmed  the  May  month’s  air; 

Sweet  sang  the  birds;  soft  breezes  blew ; Memorial  Day  was  fair! 

II. 

When  War  her  giant  wings  shook  out,  and  wakened  all  our  fears, 

Some  quiet  farm-folks  in  Vermont  a brave  son  gave  with  tears. 

Sister  and  sweetheart,  mother,  sire,  he  bade  them  all  good-by; 

All  boyish  ” sobs  the  man  choked  down,  brushed  tear-drops  from  his 
eye. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.  147 


III. 

He  fought  all  down,  sprang  on  his  horse,  then  faltered  : “ If  I’m  killed 
(There,  mother,  don’t— now— do  not  cry)  ’twill  be  as  God  has  willed. 
But,  if  among  the  war’s  sad  news  you  do  hear  that  I’m  dead, 

Please  bring  me  home,  and  bury  me,  and  lay  me  so  my  head 


IV. 

“ Will  rest  beneath  the  old  elm  tree  down  by  the  meadow  brook. 
Good-by,  once  more.”  Then  off  he  dashed  without  one  parting  look. 
He  fled  from  sight  of  weeping  friends,  from  hearts  that  held  him  dear; 
But  ne’er  from  battle’s  challenge  flinched— his  brave  soul  knew  no  fear. 


V. 

Where  rolled  the  war-cloud’s  densest  smoke,  where  loudest  pealed  the 
gun, 

Where  comrades  brave,  on  every  side,  were  falling  one  by  one,— 

There  ever  dashed  our  soldier  boy.  Full  oft  his  brave,  bright  cheer 
Rang  out,  and  courage  lent  to  souls  bowed  ’neath  the  sway  of  fear. 

VI. 

Once  when  their  color-bearer  fell  our  flag  he  snatched  on  high ; 

In  clarion  tones  his  young  voice  rang,  pealed  forth  in  one  brave  cry: 
“Come!  Rally,  boys,  for  victory!  we’ll  win  this  field  or  die!” 

That  gallant  charge  was  won,  that  day.  But,  when  the  southern  sky 

VII. 

Was  all  ashine  with  twinkling  stars,  the  southern  moon’s  sad  face 
Beamed  pityingly  upon  our  boy,  fast  wrapped  in  death’s  embrace. 

His  grave  was  made  upon  the  farm,  beneath  the  old  elm  tree, 

Where,  on  that  fair  Memorial  Day,  his  mother  bent  her  knee 

VIII. 

And  thought : “ He  lies  so  far  away,  his  resting-place  unknown, 

No  comrades  brave  will  seek  him  here;  his  grave  will  ne’er  be  strewn 
With  blooms  from  loyal  soldier  hands,  that  knew  him  m the  fight. 

A drum’s  low  beat  fell  on  her  ear,  across  her  startled  sight 

IX. 

A vision  came  of  marching  men,  Grand  Army  boys  a score; 

A floral  flag,  a cross,  a crown,  with  their  bouquets  they  bore. 

Their  beauteous  tributes  they  laid  down  upon  that  lone  grave  s sod ; 
Made  bare  their  heads,  then  reverently  and  humbly  prayed  to  God. 


148 


EMMA  DUNNING  BANKS'S 


X. 

Though  since  that  day  long  years  have  flown,  have  swiftly  rolled  away, 
Grand  Army  boys  march  to  that  farm  on  each  Memorial  Day. 

They  scatter  floral  tributes  down,  with  loving  hands  and  free, 

Upon  that  hero’s  lonely  grave  beneath  the  old  elm  tree. 


LESSON-TALK. 

(1)  Simple  description,  as  regards  style,  prevails  through  this  stanza. 
The  voice  used  is  effusive  in  the  lingering  element  employed.  On  lines 

2 and  3 ascending  gestures  with  the  right  hand  are  allowable. 

(2)  A stronger  tone  characterizes  and  strengthens  line  1.  x\  gesture 
of  location  with  left  hand  indicates  the  direction  of  Vermont  in  line  2; 
the  voice  is  more  subdued,  in  sympathy  with  the  sentiment.  Strong 
emphasis  is  needed  on  the  word  “ man  ” in  line  4. 

(3,  4)  Make  the  word  “all”  very  emphatic;  give  a little  upward  fling 
of  the  right  hand  on  “ sprang.”  Then  make  downward  gestures  of  de- 
precation as  if  talking  to  some  one  much  shorter  than  yourself,  during 
line  2.  Deliver  the  remainder  of  the  stanzas  with  feeling.  A forward 
gesture  may  be  made  on  “ off  he  dashed,”  as  though  watching  some  one 
ride  off  into  the  distance. 

(5)  An  upward,  spiral,  floating  movement  with  right  hand  will  be 
found  effect  ive  in  picturing  “ the  war-cloud’s  densest  smoke.”  Let  the 
voice  ring  out  with  patriotic  fire  when  rendering  the  last  half  of  line  1. 
Alternate  side  gestures  will  describe  the  excitement  of  line  2,  and  let 
the  enthusiasm  continue  to  vibrate  through  the  voice  to  the  end  of  the 
stanza. 

(6)  The  dash  and  spirited  ring  still  color  the  tone.  The  call  in  line 

3 must  peal  out.  An  upward  gesture  on  “ southern  sky  ” will  finish  the 
action-work  of  the  stanza. 

(7)  The  ascending  movement  is  continued  from  the  last  stanza  into 
this.  The  head  and  hand  descend  to  depict  the  dead  soldier,  lying  be- 
neath the  pale  rays  of  the  moon,  upon  the  battle-field.  The  simple, 
narrative  manner  marks  the  close  of  the  stanza. 

(8)  Infuse  all  the  tender  pity  of  a mother’s  love  into  the  words  of  the 
mother  at  the  grave  of  her  son.  More  dramatic  intensity  creeps  into 
the  last  two  lines. 

(9)  Pride  is  noted  in  line  1,  pride  of  our  Grand  Army.  The  remainder 
of  the  stanza  is  given  with  quiet  depth  of  feeling.  ' 

(10)  A backward  gesture  is  suggested  by  line  1,  and  the  remainder 
of  the  selection  is  finished  naturally  and  without  action- work. 


PANTOMIMES 

By  MARY  TUCKER  MAG  ILL 

Pantomimes,  or  Wordless  Poems.  Special  edition,  50c.  This  book  contains: 

1.  PANTOMIMIC  EXERCISES,  fully  described  and  accompanied  with  original 

music,  depicting  AFFECTION,  ANGER,  EXPECTATION,  FAREWELL, 
FEAR,  JOY,  RELIGIOUS  DEVOTION,  SORROW. 

2.  Pantomimes  (fully  described)  of  “GINEVRA,”  “QUEEN  KATHARINE’S 

VISION,”  “SEVEN  TIMES  THREE,”  “‘WINTER’S  TALE,’ SCENE 
FROM.”  These  are  action  poems  without  words. 

3.  Also  the  recitations:  “AUNT  ANARKY’S  PRESENTS,”  “BAKER’S 

WIFE,”  “BORROWERS,”  “KASSERBANKER.” 


OTHER  PANTOMIMES  BY  MISS  MAGILL 

boldenhair  and  the  Bears.  35c.  Child.  20  min.  3m,  If.  Girl  with  golden  hair 
goes  to  house  where  live  three  bears  (impersonated  by  boys),  eats  their  food  and 
gets  into  their  bed.  Bears  come  home,  are  surprised  to  find  food  gone  and  some- 
one in  bed.  Girl,  at  first  frightened,  soon  feels  safe,  and  scene  ends  with  dance. 
Music  given. 

Rory  O’More.  35c.  Comedy.  Irish  dialect.  15  min.  lm,  If.  Poem  by  Samuel 
Lover,  pantomime  by  Myra  Pollard  and  Goodwal  Dickerman.  Peasant  costumes. 
Scene  between  saucy  lover  and  coquettish  girl,  he  kissing  her  eight  times  and 
then  taking  another,  as  “ there  is  luck  in  odd  numbers.”  Music  given.  6 photo- 
graphs from  life. 

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Unusually  dainty  and  poetic  child  entertainment.  Music  given.  3 photographs 
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Pantomimed  by  Myra  Pollard  and  Goodwal  Dickerman.  Last  century  costumes 
girl  as  country  maiden,  man  as  city  swell.  Man  takes  back  proposal  on  learning 
girl  has  no  money,  she  retorting  that  nobody  asked  him  to  marry  her.  Music 
given.  7 photographs  from  life. 


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PANTOMIMES  AND  ILLUSTRATED  READINGS 

Continued  f rom  Second  Cover  Page 


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ear  of  night.”  Hills  of  Palestine  send  back 
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lotos,  become  indolent,  and  lose  desire  to  re- 
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by  L.  Blinn.  Bible  story,  II.  Samuel  xxi, 
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the  lights  goes  out  and  its  owner  jumps  into 
the  river.  14  photographs. 

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tume. Scene  between  saucv  lover  and  co- 
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Jean  Ingelow.  Unusually  dainty  and  poetic 
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10  min.  im.,  if.  Last  century  costumes — 
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Man  takes  back  proposal  on  learning  girl  has 
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Address  the  Publishers,  EDGAR  S.  WERNER  & COMPANY,  NEW  YORK 


A Text-Book  tor  Re- 
quirements of  20th 
Century  Elocution 


Used  by  mviny  of  the 
Leading  Schools  in 
English-Speaking 
America 


ELOCUTION 

AND 

ACTION 


BY 


F.  Townsend  Southwick 


Lessons  are  in  sequential  order  and  furnish 
a TRUE  EVOLUTION  OF  EXPRESSION 


Book  gives  an  up-to-date  method  of  teaching  expression,— 
of  training  body  and  voice  to  express  whatever  thoughts  are 
within  the  person  to  express.  No  book  equals  this  in  con- 
ciseness, comprehensiveness,  directness,  — in  being  the 
representative  of  the  “new  elocution,”  in  contradistinc- 
tion to  the  old,  artificial,  superficial,  mechanical  elocution. 
Complete  in  itself  and  makes  another  book  unnecessary. 

Recitations  for  Practice  in  Connection  with  the  Lessons 

“Adams  and  Jefferson,’'  " Against  Whipping  in.heN.vy,”  ’^exander  Y^siland”  Rattle  of 


Dedication  of 


Naseby.”  “'Bells 'of  Shandon,”  “Brutus  on  the  Death  of  Caesar.  , 

“Charge  of  the  Light  Brigade,”  “ Christmas  Party  at  Scrooge  s Nephew  s, 

Gettysburg  Cemete?y,”  “ Discontented  Pendulum,”  Due1,  Echo  and  the  Ferry,  Faults 
Descensus!”  “Fox  at  the  Point  of  Death  ” ‘ Hamlet’s  Instruction  to  the  v 

Riel,”  “Incident  of  the  French  Camp.”  Langley  Lane  Leper,  Little  Stowaway,  Man 
in  the  Moon,”  “Marmion  and  Douglas,”  ‘Mice  at  Play,  Mont  Blanc  Before  Sunrise,  Origin 
of  Roast  Pig  ” “Owl  and  the  Bell,”  Owl  Critic,  Palmer  s Vision.  Plain  Tale  of  1893, 
“Portia’s  Speech  on  Mercy.”  “Prodigal  Son.”  “Reading ■for  the  Thought 

Caesar’”  ‘‘Scene  from  ‘ The  Rivals,  Star  Spangled  Banner,  Supporting  the ; buns, 
“Sweet  and  Low,”  “Sympathy  with  the  Greeks,”  “Selection  from  A Tramp  Abroad,  Twenty- 
Third  Psalm,”  “Two  Views  of  Christmas,”  “Wind  and  the  Moon. 

Also  Other  Selections 

“Americanism,”  “Destruction  of  Sennacherib.”  ‘‘Forging -of  the  Anchor,”  “France  and  Rpcham- 
beau  ” “Fugitives  ” “Good  Courage,”  “Great  Schools  of  the  World.  Hand-Car  412.  Hunt- 
ing Song,”  “If  Mother  Would  Listen.”  “I’m  With  You  Once  Again,  Issues  8f  Trawja.1 

Ouestion  ” “Liberty,”  “Lilies  at  Queens  Gardens.  March  of  Company  A,  Mince  Pies, 
"old  Flag.”  “Other  Side  of  the  Case,”  “Plea  for  Cuban  Liberty,  ^ehgion  of  Trooper  Peter 
Halket,”  “Rome  and  Carthage,”  Sermon  on  the  Mount,  Shylock  to  Antonio  Song  of  the 
Chattahoochee,”  “ Speech  of  Black  Hawk,  Sultan  s Career,  Tea-kettle  and  the  Cricket. 

“ Whip-Poor-Will,”  “William  McKinley,” 


You  Never  Can  Tell.” 

WELL  PRINTED  AND  BOUND  IN  CLOTH.  75  CENTS.NET 

ADDRESS  THE  PUBLISHERS 


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Emma  Dunning  Banks’s 
Recitations  with  Lesson-Talks 


Price,  15  cents  each 


Lesson-Talk  by  Emma  Dunning  Banks  with  every  piece 

Unless  some  other  name  is  given,  every  selection  in  this  list  is  by  Emma  Dunning  banks. 


ALINE’S  LOVE  SONG.  Young  man  enters 

unannounced  and  overhears  and  surprises 
sweetheart  talking  of  love  for  him  while 
practicing  singing.  10  min. 

AMERICAN  FLAG.  J.  F.  Drake.  Drake  s fa- 
mous poem  praising  flag  and  showing  its 
value  and  place.  5 min. 

AUNT  RHODV’S  DREAM.  Yankee-dialect. 
Countrywoman  tells  of  theological  dispute 
with  deacon  and  of  dreaming  that  sects 
are  doors  of  same  heaven.  10  min. 

BRIDGET’S  MISSION  JUG.  In  Sunday 
School  class  is  poor  Irish  girl  whom  all 
like  except  one  rich  girl,  but  she  is  won 
when  Bridget  carries  her  over  muddy 
street.  Bridget’s  story  gets  out  and  con- 
tributions are  made  to  her  mission-jug, 
which  is  found  to  contain  more  money 
than  any  other  jug.  15  min. 

BRIER-ROSE.  H.  H.  Boyesen.  Norway  story 
of  light-hearted  girl,  whom  neighbors  and 
mother  thought  good-for-nothing,  saving, 
when  no  one  else  would  run  risk,  much 
propertv  and  many  lives,  by  breaking  lock 
of  logs  in  flood,  but  losing  her  life.  10  min. 

CHARGE  OF  FIRST  MINNESOTA  AT 
GETTYSBURG.  H.  L.  Gordon.  Tells  of 
fight  of  Minnesota  regiment  that  came  out 
with  only  47  men.  10  min. 

DIAMOND  CUT  DIAMOND.  Heiress,  dis- 
guised as  maid;  nobleman,  disguised  as 
boatman,  but  each  seeing  through  others 
deception,  after  exciting  courtship  and 
family  opposition,  marry.  “Twickenham 
Ferrv”  is  sung.  Music  given.  15  mm. 

DOT’S  CHRISTMAS  (“Sober  Hat”).  Drunk- 
ard. whose  daughter  by  selling  papers  has 
bought  shawl  for  mother  and  hat  for  him 
as  Christmas  presents,  is  kept  from  selling 
presents  for  drink  by  finding  girl’s  note 
in  hat  saying  it’s  the  only  sober  hat  she  s 
known  him  to  have,  and  stops  drinking. 
Girl  marries  newsboy  who  aides  her.  lOm. 

ELF-CHILD  (“Orpliant  Annie”).  J.W.Kiley. 
Child  tells  witch  stories,  warning  that 
“gobble-uns  ’ll  git  you  ef  you  don’t  watcn 

EMMA  'l)UNNING  BANKS’S  MEDLEY. 

Chureh  members,  scandalized  because  girl 
has  become  actress,  think  of  turning  her 
out  of  meeting.  Girl  makes  good;  mother 
goes  and  lives  with  her.  Years  later  coun- 
tryman, from  girl’s  native  place,  recog- 
nizes her  in  New  York  theater  girl  who 
gives  selections  in  Yankee,  Dutch,  negro 
and  Irish-dialect  roles,  also  scenes  from 


“Leah”  and  “London  Assurance”  and  bird- 
tones  and  baby-cries.  Countryman’s  report 
of  girl’s  success  leads  neighbors  (who 
were  ready  at  first  to  cast  her  out)  to  say 
they  knew  she’d  make  a mark.  20  min. 

I I.IBBERTYGIBBET  AND  ME.  May  R.Mac- 
kenzie.  Woman  circus-performer  tells  of 
performing  mate  dying  to  save  her — an- 
other’s wife.  6 min. 

FLOSSIE  LANE’S  MARRIAGE.  Girl  tells  of 
runaway  marriage  with  poor  man,  cere- 
mony performed  on  train.  15  min. 

FLYING  JIM’S  LAST  LEAP.  Trapeze-per- 
former, famed  for  daring  leaps,  a crimi- 
nal, is  pursued  by  officers.  Blood-stained, 
mud-bespattered  and  faint  with  hunger, 
he  is  repulsed  from  house,  but  little  girl 
ministers  to  him;  her  father,  enraged, 
strikes  man  who  refrains  from  vengeance 
because  it’s  her  father.  Same  night  man 
rescues  from  burning  house  girl,  with  whom 
he  makes  flying  leap  from  roof  to  tree, 
saving  her  but  losing  his  own  life.  20  min. 

FOR  THE  SLUMBER  ISLANDS,  HO!  Dainty 
bedtime  song  for  sleepy  children.  3 min. 

GRANDMA  AT  THE  MASQUERADE.  Cora 
Vandemark.  Girl  tells  how  old  lady  sur- 
prises all  by  sprightly  dancing  at  masked 
ball.  “Money  Musk”  music  given.  8 min. 

GRANDMA  ROBBINS’S  TEMPERANCE 
MISSION.  Grandmother  of  man.  whose 
voung  wife  has  told  her  of  his  dissipation, 
tells  him  she  is  old  and  apt  to  die,  prays 
for  and  succeeds  in  reforming  him.  8 min. 

HOW  CONGRESS  FOUGHT  FOR  SHERI- 
DAN. Describes  scenes  in  Congress  during 
passage  of  bill  making  Sheridan  general 
of  army,  also  scenes  at  his  bedside  as  he 
awaits  results  and  gets  commission.  8 min. 

JACK’S  VALENTINE.  Girl  has  four  suitors 
— for  valentine,  minister  sends  sermon; 
banker  sends  diamonds;  clubman  promises 
horse;  poor  clerk  sends  love-letter  in  heart 
of  roses.  Banker’s  letter  is  burned,  min- 
ister’s sermon  puts  girl  asleep,  clubman’s 
promise  of  horse  has  no  weight,  but  clerk’s 
declaration  of  love  wins.  Bird-notes  may 
be  introduced.  6 min. 

LAUREAME  THE  MARBLE  DREAM.  Statue 
Pose  (similar  to  Pygmalion  and  Galatea) 
recital.  Woman,  deceived  into  marriage 
with  unloved  man,  has  prayer  answered  to 
be  turned  into  marble  statue,  but  is 
brought  to  life  by  lover’s  call.  Music  may 
be  introduced.  6 min. 


LIST  OF  BANKS’S  RECITATIONS  CONTINUED  ON  THIRD  COVER  PAGE. 


H 


EMMA  DUNNING  BANKS’S 


A LEGEND  OF  ROSE  SUNDAY. 

i. 

WHEN  the  laughing,  merry  June  maid  shakes  her  clouds  of  golden 
hair, 

When  the  lovely  sky  all  azure  echoes  birds’  songs  everywhere, 

When  a softened  emerald  carpet  springs  up  on  the  dusty  way, 

We  must  lift  our  hearts  in  anthems,  sing  and  welcome  “ Children’s  Day.” 
Floats  a sweet  rose  incense  heavenward  from  all  churches  through  our 
land, 

J une  yields  up  her  floral  treasures  with  a loving,  lavish  hand. 

And  the  little  children  tripping,  each  a dainty  rosebud  fay, 

Dimpled  hands  all  full  of  pink  blooms  celebrate  the  “ Children’s  Day.” 

II. 

In  a town  far  off  to  seaward  dwelt  a maiden  fair  and  young, 

Sweet  of  smile  and  low  of  stature,  whom  no  idle,  wicked  tongue 
Ever  yet  had  dared  to  censure.  Said  the  children : “ She’s  so  dear 
That  our  ‘ gude  man  ’ in  the  pulpit  is  to  wed  with  her  next  year.” 

But  ere  yet  the  year  was  over,  this  sweet  maiden  drooped  and  failed ; 
From  a rose  of  bloom  and  fragrance  to  a dying  lily  paled. 

So  they  sent  her  far  to  inland,  hoping  mountain  air  and  dew 
Would  revive  her  health  and  spirits,  give  her  life  and  love  anew. 

III. 

Prayers  uprose  at  night  and  morning  for  the  health  of  absent  May. 
Prayers  from  saint  and  prayers  from  sinner,  prayers  from  old  and 
young  and  gay. 

All  the  children’s  hearts  were  with  her,  exiled  on  that  mountain’s  side, 
And  they  prayed  that  Cod  would  send  her  back  to  be  their  pastor’s  bride! 
Sometimes  news,  came  she  was  better,  then  anon  that  she  was  worse 
Superstitious  people  muttered  something  low  about  a hearse 
When  the  wee  ones  asked  and  wondered  if  their  prayers  for  maiden  May 
Would  be  answered;  would  Cod  let  her  be  with  them  on  “Children’s 
Day.” 

IV. 

Bright  Rose  Sunday  dawned,  and  gladsome  from  a bush  some  tiny  bird 
Piped  his  merry  lay  of  music,  which  the  pastor  sadly  heard. 

Heard  with  heart  full  sore  and  heavy,  as  he  paced  him  to  and  fro, 

Up  and  down  his  narrow  study,  thinking  one  short  year  ago 


Copyright,  i8go.  by  Edgar  S Werner 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS. 


15 


May  was  full  of  life  and  beauty,  wondering  would  she  e’er  be  well. 

Then  to  rouse  his  trancfcd  musing,  came  the  pealing  of  the  bell 
From  the  church  towers,  gray  and  lofty,  and  it  woke  his  suffering  soul 
To  a sense  of  pastoral  duty,  with  its  softly  chiming  toll. 

V. 

As  he  entered  the  church  portals,  from  the  tinted  oriel  flamed 
Forth  a light  of  wondrous  beauty,  and  he  knelt  him  down  ashamed 
Of  his  doubtings  and  repinings.  As  he  rose,  upon  his  right 
An  arbor  entrance,  formed  of  roses,  met  his  fascinated  sight. 

As  he  paused  and  gazed,  the  archway  of  the  arbor  parted  wide, 

Back  he  shuddered — then  pressed  forward— there  she  stood,  his  would- 
be  bride, 

Full  of  life  and  health  and  beauty,  not  a rose  in  all  that  bower 
Could  compare  with  her  for  blushing,  in  that  happy,  blissful  hour. 

VI. 

Shall  I tell  you,  how  the  children  planned  for  him  this  great  surprise? 
Planned  it  without  aid  from  others,  other  older  heads  and  wise? 

No — I’ll  leave  you  to  imagine,  only  tell  you  “ Children’s  Bay,” 

Bright  Rose  Sunday  saw  the  pastor  wedded  to  the  fair  maid  May. 

Long  as  tongues  of  little  children  can  the  pleasant  story  tell, 

Long  as  from  the  old,  gray  towers  peals  the  mellow,  low-toned  bell, 
Long  as  birds  their  merry  songlets  pipe  from  rose  trees  by  the  way, 
Will  that  far-off  country  sea-town  hold  in  honor  “ Children’s  Day.” 


LESSON-TALK. 

(1)  Begin  in  a bright,  happy,  animated  way,  for  it  is  a description 
of  all  things  cheerful  and  beautiful  and  the  mood  must  be  in  accord- 
ance. On  line  5 allow  an  ascending  gesture  with  the  right  hand,  then 
bring  the  hands  together  and  separate  them  on  the  words,  “ through 
our  land.”  This  gesture  should  be  neither  high  nor  low.  Finish  the 
stanza  in  a pleasant,  natural  manner. 

(2)  Make  a gesture  to  the  right  when  locating  the  town.  Sympa- 
thetic feeling,  tenderness  and  sadness  of  voice  must  combine  with 
facial  expression  in  rendering  this  stanza  effectively.  On  line  7,  make 
a gesture  with  the  left  hand,  thus  giving  the  idea  of  opposition,  to  the 
two  points  inland  and  seaward. 

(3)  A slightly  ascending  movement  may  be  permitted  on  the  word 
“ uprose,”  occurring  in  line  1.  During  line  3 let  the  left  hand  touch  the 
heart  gently  for  a moment,  leaving  it  to  repeat  the  gesture  of  location 
toward  the  inland  mountain  town. 


EMMA  DUNNING  BANKS’S 


1 1 6 

(4)  The  bright  and  lively  tones  beginning  the  stanza  change  sud- 
denly to  a sympathetic  sadness  as  you  depict  the  mood  of  the  pastor. 
As  you  say,  “ to  and  fro,  up  and  down  ” the  voice  must  seem  to  sway, 
and  keep  time  to  imaginary  footsteps. 

(5,  6)  When  designating  the  oriel  window  make  a gesture  to  the  left. 
Line  3 suggests  a right-hand  movement.  A double  gesture,  separating 
the  hands  gracefully  at  a point  as  low  as  the  waist-line,  will  serve  to 
illustrate  the  opening  of  the  archway  of  roses.  On  line  6 give  a quick, 
backward  start,  followed  by  a forward  movement  equally  sudden,  with 
both  hands  impulsively  outstretched.  Finish  the  selection  easily  and 
very  conversationally,  using  few  gestures  and  depending  upon  natural- 
ness for  effect.  On  line  8,  we  find  suggested  once  more  the  right-hand 
gesture  to  seaward,  ending  with  a gentle  upward  wave  on  the  word 
“ honor ; ” then  drop  it  easily  to  the  side  and  finish. 


LITTLE  BOY  BLUE. 

( ( T T NDER  the  haystack,  little  Boy  Blue  ” sleeps  with  his  head  on 
^ his  arm, 

While  voices  of  men  and  voices  of  maids  are  calling  him  over  the  farm. 

Sheep  in  the  meadows  are  running  wild,  where  poisonous  herbage 
grows, 

Leaving  white  tufts  of  downy  fleece,  on  the  thorns  of  the  sweet  wild 
rose. 

Out  in  the  field  where  the  silken  corn  its  plumed  head  nods  and  bows, 

Where  golden  pumpkins  ripen  below,  trample  the  white-faced  cows. 

But  no  loud  blast  on  the  shining  horn  call  back  the  straying  sheep, 

And  the  cows  may  wander  in  hay  or  corn,  while  their  keeper  is  fast 
asleep. 

His  roguish  eyes  are  tightly  shut,  his  dimples  are  all  at  rest, 

Two  chubby  hands  tucked  under  his  head,  by  one  rosy  cheek  is  pressed. 

Waken  him?  no,  let  down  the  bars,  and  gather  the  truant  sheep; 

Open  the  barnyard  and  drive  in  the  cows,  but  let  the  little  boy  sleep. 

For  year  after  year  we  can  shear  the  fleece,  and  corn  can  always  be 
sown; 

But  the  sleep  that  visits  little  Boy  Blue  will  not  come  when  the  years  are 
flown. 


(j  OF  ILL  LIB. 


% 


UST  OF  BANKS’S  RECITATIONS  CONTINUED  FROM  SECOND  COVER  PAGE. 


LEGEND  OF  ROSE  SUNDAY.  In  June  chil- 
dren celebrate  Children’s  Day  with  pink 
blooms  111  young  woman,  sent  away,  gets 
well,  returns  on  Rose  Sunday,  being  among 
roses  in  church  where  young  pastor,  her 
fiance,  is  surprised  and  gladdened  to  find 
her.  Wedding  ceremony  is  performed.  15m. 

LEGEND  OF  THE  ORGAN-BUILDER.  Julia 
C.  R.  Dorr.  Man,  who  has  built  organ 
that  plays  wedding-music  of  itself  when 
parties  are  pure,  wrongly  construes  or- 
gan’s silence  at  his  own  wedding  as  ac- 
cusation of  bride,  runs  off,  penitently  re- 
turning after  years  to  meet  wife’s  funeral 
procession.  He  helps  bear  coffin  into 
church,  organ  plays  heavenly  music,  and 
he  falls  dead  at  altar.  6 min. 

LEGEND  OF  VAN  BIBBER’S  ROCK.  Man 
tells  story  of  how  man,  pursued  by  In- 
dians, jumps  from  high  rock  into  stream 
and  escapes.  7 min. 

LITTLE  CHRISTEL.  Mary  F.  Bradley.  Ger- 
man story  of  scholars  drilled  in  expecta- 
tion of  king’s  visit,  and  how  little  girl  won 
king’s  blessing  by  replying  to  his  ques- 
tions, that,  while  certain  things  belonged 
to  vegetable  or  mineral  kingdom,  animals 
to  animal  kingdom,  he  belonged  to  the 
Kingdom  of  Heaven.  6 min. 

MEIN  KATRINE’S  BRI  DDER  HANS.  Ger- 
man-dialect. Lover  tells  of  courtship  trials 
sweetheart’s  brother  caused  him.  7 min. 

MEMORIAL  DAY  AT  FARM.  Boy,  after 
many  battles  in  Civil  War,  is  killed  and 
buried,  as  he  had  requested,  under  old 
elm  at  home.  His  mother,  first  regretting 
he  is  laid  away  so  far  from  comrades,  is 
reconciled  when  she  sees  G.  A.  R.  boys  lay 
flowers  on  grave.  10  min. 

MONEY  MUSK.  B.  F.  Taylor.  Country  dance 
piece  introducing  dance  calls,  dance  steps. 
Music  given.  8 min. 

MOTHER’S  EASTER  SCARF.  Mother  em- 
broiders Easter  altar  scarf  for  twin  sons, 
one  of  whom  loses  arm  saving  other  from 
mad  dog,  her  last  words  enjoining  them 
to  love  and  guard  each  other.  Both  men 
fall  in  love  with  same  girl;  the  one-arm 
man  wakes  from  agonized  nightmare  to 
find  he  has  not  killed  his  brother  in  jeal- 
ousy as  he  has  dreamed,  and  as  Easter 
bells  joyously  toll  he  is  resigned.  10  min. 

OLD,  OLD  STORY.  Christmas  selection  tell- 
ing of  birth  of  Jesus.  5 min. 

ONE  THANKSGIVING  DAY  OUT  WEST. 
Woman  tells  of  frontiersman  throwing  out 
dogs  and  cats  to  attacking  wolves  to  save 
himself  in  night  ride  through  woods.  12m. 

ORGANIST.  Archibald  Lampman.  Organist, 
who  has  taught  from  childhood  and  fallen 
in  love  with  girl,  when  told  she  is  to 
marry  another,  draws  crowd  who  stay  all 
night  to  hear  his  wonderful  music  and 
falls  dead  on  keyboard.  10  min. 

PRIDE  OF  BATTERY  B.  F.  H.  Gassaway. 
Union  soldier  tells  of  girl  waif,  called  by 
Confederates  “Pride  of  Battery  B,’’  com- 
ing to  Federal  camp  for  tobacco  for  Con- 
federates, returning  supplied,  and  of  Bat- 
tery B not  being  shelled  in  next  day’s 
battle.  6 min. 


PRINCE  ERIC’S  CHRIST-MAID.  Prince 
having  offered  to  marry  girl  who  grows 
fairest  lilies,  orphan  girl,  who  enters  con- 
test, is  forced  by  rival  cousin  to  tend  her 
flowers;  but  orphan  girl,  heart-sick,  droops 
and  apparently  dies,  awakening,  however, 
when  Prince  calls  her  name  at  her  bier  on 
Easter  day.  10  min. 

PRINCESS  IMRA  AND  THE  GOATHERD. 

Prince  disguised  as  goatherd  wins  prin- 
cess. Bell  effects.  10  min. 

QUART  OF  MILK.  Milkman,  confused  by 
deaf  woman’s  talk  and  mistaking  ear- 
trumpet  for  pail,  pours  milk  into  ear  and 
now  goes  three  miles  out  of  way  to  avoid 
vengeance.  5 min. 

ROMAN  VALENTINE.  Roman  girl’s  name 
is  drawn  on  St.  Valentine’s  Day  by  objec- 
tionable and  acceptable  lovers,  real  lover 
winning  by  doing  most  valiant  deed  in 
contest  ordered  by  emperor.  May  be  given 
in  Roman  costume.  10  min. 

RUSSIAN  CHRISTMAS.  Unsuccessful  suitor 
maliciously  throws  log  in  front  of  rival 
and  girl  who  are  skating  and  gets  rival 
exiled;  but  Czar  pardons  unjustly  con- 
demned lover  who  marries  girl.  May  be 
given  in  Russian  costume.  10  min. 

RUTH  IE’S  FAITH  IN  PRAYER.  Child-dia- 
lect. Girl,  who  has  prayed  for  new  doll, 
is  not  surprised  when  mother  gives  her 
one,  saying,  “I  knew  ze  Lord  would  make 
her  live,  because — He — is — so — wise.”  5 m 

ST.  VALENTINE’S  AND  ST.  PATRICK’S 
DAY.  By  finding  in  store  hand-painted 
satin  valentine,  man  is  united  to  sweet- 
heart, both  having  come  from  Ireland  to 
America.  Three  scenes:  (1)  Stationer’s 

store;  (2)  Man’s  room;  (3)  Girl’s  home. 
Musical  effects.  Music  given.  8 min. 

SOLDIER’S  JOY.  Girl,  forbidden  like  Cin- 
derella to  attend  dance,  is  rescued  by  lov- 
er and  dances  with  him  before  he  goes  to 
war  and  again  after  war  when  she  be- 
comes his  wife.  “Money  Musk”  dance  steps 
introduced.  Music  given.  8 min. 

SPINNING-WHEEL  SONG.  J.  F.  Waller. 
While  girl  is  spinning,  lover  taps  on  win- 
dow attracting  attention  of  blind  grand- 
mother, who  falls  asleep  as  girl  spins  and 
sings  “Robin  Adair”  and  “Cornin’  thro’  the 
Rye,”  girl  joining  lover  for  moonlight 
stroll.  May  be  given  in  Irish  or  Scottish 
costume.  Music  given.  5 min. 

SQUEEZE  IN  THE  DARK.  Woman  tells  of 
lively  Irish  widow,  wh"1'-  <-^ncealed  lover 
calls  out  in  name  of  dead  husband,  bid- 
ding her  marry  him,  and  of  widow  telling 
him  to  turn  down  light  and  squeeze  her  so 
she  would  know  if  it  were  her  husband. 
She  detects  ruse  and  orders  lover  off.  6 m. 

TIT  FOR  TAT.  Irish-dialect.  When  lover 
tries  to  pacify  girl,  when  she  accuses  him 
of  kissing  another,  by  saying  he  shut  his 
eyes  fancying  ’twas  she,  she  retorts  she’ll 
try  trick  with  some  other  fellow.  2 min. 

TWO  THANKSGIVING  DANCES.  Man.  lis- 
tening to  music  and  dancing,  recalls  dance 
and  quarrel  with  sweetheart  ten  years  be- 
fore on  Thanksgiving,  and  learns  she  is  to 
visit  grandma  coming  Thanksgiving.  They 
meet  and  make  up.  Music  given.  5 min. 


EDGAR  S.  WERNER  & COMPANY,  43  East  19th  Street,  NEW  YORK 


Stanley  Schell’s  Sketches 

| Price,  25  cents  each  | 


Apartment  Hunting 

At  the  Notion  Counter 

At  the  Restaurant 

Bargain  Day 

Bargain  Hunters 

Baseball  Game 

Bicycle  vs.  Wolves 

Black  vs.  White 

Blue  and  White  Polka-dot  Shirt 

Book  Canvasser 

Brave  Man  and  a Toothache 

Buying  a Hat 

Buying  Rugs  in  a Department 
Store 
Cheat 

Cozy  Corner 

Daisy’s  Vacation 

De  Wolf  Hopper  on  Baseball 

Experience  in  Arcadia 

Gossiping  Bridget 

Hotel  Piazza  Ladies 

How  I Was  Courted 

How  Nell  Gets  Even 

How  She  Helps  Save 

I’m  Engaged 

Ice  Queen 

Invitation  to  the  City 
It  Was  a Miracle 
Just  a Bowery  Newsboy 


Just  Returned 
Leading  Lady  Seeking  a Job 
Man  She  Loved 
Mary  Ann  Gilhuly 
Modern  Queen  Esther 
Mop  Agent 

Mrs.  Thompson  Shops 

Pop!  Pop!  Why  Don’t  You  Pop? 

Public  ’Phone 

Ravings  of  an  Actor 

Revelations  in  Housekeeping 

Skippy’s  Vacation 

Slim  Club 

Small  Boy  and  a Suit  of  Clothes 
Society  Butterfly  and  a Pudding 
Soldier’s  Golden  Wedding 
Solving  the  Vacation  Problem 
’Sylums  vs.  Fresh  Air 
’Tis  the  Finish  of  the  Play 
Told  Over  the  Telephone 
Uncomplaining  Married  Man 
Up-to-date  Proposal 
Up-to-date  Saleslady 
Up-to-date  Society  Child 
Up-to-date  Stenographer 
Village  Seamstress  ma 

Young  Mrs.  Bascom  s First  At 
Home” 


Catalogue  giving  full  description  of  above-listed 
STANLEY  SCHELL’S  SKETCHES,  sent  free  on  application. 

For  list  of  additional  writings  by  STANLEY  SCHELL,  apply  to  tbe  Publishers. 

Address  the  Publishers 

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Flibbertygibbet  Tit  for 
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PANTOMIMES  AND 
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All  Illustrated  from  Photographs  from  Life 


Abide  with  Me.  $.35.  10  min.  Any  number. 

Hymn  by  W.  H.  Monk.  While  particularly 
suited  to  religious  occasions,  it  is  good  for  any 
entertainment.  6 photographs. 

At  the  Golden  Gates.  $1.00.  is  min.  Any 

number.  Poem  by  Father  Ryan.  As  a per- 
son kneels  at  the  Golden  Gates  he  is  told  of 
a day  when  the  soul  shall  reach  great  heights. 
23  photographs. 

Blacksmith’s  Story.  $.25.  30  min.  Poem  bv 

F.  Olive.  First  husband  reported  killed  in 
battle,  man  marries  supposed  widow,  but  first 
husband  appears  and  woman  goes  with  him, 
taking  away  second  husband's  child.  17 
photographs. 

Bobby  Shaftoe.  $.35.  im.  2f.  to  min.  Hu- 
morous pantomime,  depicting  boy  departing, 
having  been  rejected  by  girl,  who  relents  on 
his  return.  Pathetic  prose  selection,  bv  Homer 
Greene,  tells  how  a mischievous  scholar  saves 
from  sudden  flood  his  teacher,  and  ot  his  own 
narrow  escape.  Both  in  one  leaflet.  5 photos. 

Coinin’  through  the  Rye.  $.25.  10  min.  1 or 

many  f.  Scottish  Highland  costume.  The 
famous  song  beginning  “Gin  a Body  Meet  a 
Body,”  etc.  12  photographs. 

Conquered  Banner.  $.35.  10  min.  1 or  many 

f.  Poem  by  Father  Ryan.  Heroism  and 
pathos  are  shown  in  this  touching  farewell  to 
the  Confederate  flag.  8 photographs. 

Courtin’,  The.  $.35.  J.  R.  Lowell.  Panto- 
mimed Poem,  with  Lesson-Talk.  10  min.  im. 
2f.  Perhaps  the  greatest  Yankee  dialect 
poem.  Depicts  in  dainty  way  lovers’  bash- 
fulness and  happiness  in  proposal  scene.  10 
photographs. 

Dance  of  the  Mist  Maiden;  or,  “ Maid  of  the 
Morning  Mist.”  $1.00.  Greek  dance  and 
pantomime.  10  min.  Daphne,  maid  of  morn- 
ing mist,  discovered  by  Apollo,  sun  god,  who 
falls  in  love  with  her  and  tries  to  catch  her, 
dissolves  in  mist..  12  photographs. 

Easter  Lilies  for  Easter  Time.  $.25.  8 min. 

Poem  and  pantomime  by  Mrs.  F.  W.  Pender. 
While  specially  suitable  for  Easter,  piece  is 
good  for  any  time.  Poem  urges  offering  of 
lilies  to  the  Master  and  tells  of  lilies’  signifi- 
cance. 7 photographs. 

Fedalma’s  Dance.  $.35.  From  “The  Spanish 
Gipsy.”  George  Eliot.  Pantomimed  Poem, 
with' Lesson-Talk.  10  min.  if.  Shortly  be- 
fore day'  set  for  marriage  to  Spanish  nobleman, 
gipsy  girl,  ignorant  of  her  birth,  yields  to  her 
inclination  to  dance  in  market-place;  and, 
while  there,  meets  her  gipsy  chief  father,  and 
she  is  thrilled  by  consciousness  of  subtle,  but 
unknown  bond,  between  them.  Tambourine 
effects.  1 1 photographs. 


Flirts  and  Matrons.  $.25.  Comedy-Serio  Char- 
acter Sketch  Acting  Monologue.  24  min. 
Jennie  O’Neill  Potter’s  famous  monologue 
picturing  whole  life  of  society  woman:  (1) 

Nursery  girl;  (2)  college  girl;  (3)  bud;  (4) 
belle,  (5)  bride;  (6)  wife,  (7)  mother;  (8) 
grandmother.  Fine  chance  for  costuming. 
Each  part  is  «omplete  and  may  be  given  sep- 
arately. 6 photographs. 

Gincvra.  $.35.  Susan  Coolidge.  Dramatic- 
Verse  Monologue  for  a Woman,  with  Lesson- 
Talk.  15  min.  Italian  story  of  wife,  forced 
to  marry  old  man,  grieved  herself  into  trance, 
and  was  buried.  Escaping  from  tomb  she, 
denied  admission  to  both  husband’s  and 
father’s  houses,  sought  lover  to  whom  the 
court  awarded  her.  1 2 photographs. 

Holy  City.  $.35.  8 min.  Poem  by  F.  E. 

Weatherly.  A vision  of  the  New  Jerusalem, 
to  which  “no  one  was  denied.”  12  photos. 

I Don’t  Know.  $.15.  10  min  im.  Study  in 

expressive  attitudes.  Nine  pantomimic  ex- 
pressions in  answer  to  nine  questions.  10 
photographs. 

I’se  Bad.  $.35.  Child  dialect.  8 min.  Poem 
and  pantomime  by  Mrs.  F.  W.  Pender.  Com- 
panion piece  to  “I'se  Dood.”  Small  girl, 
telling  of  the  naughty  things  she  does,  con- 
cludes “I’se  Bad,  I dess  I is.”  15  photos. 

I’sc  Dood.  $.35.  Child  dialect.  8 nun.  Poem 
and  pantomime  by-  Mrs.  F.  W.  Pender.  Com- 
panion piece  to  “I’se  Bad.”  Small  girl  tells 
why  everyone  likes  her — “Tause  I’se  Dood.” 
10  photographs. 

Japanese  Fantastics.  $.75.  Pantomime  and 
drill.  Any  even  number  f.  Japanese  cos- 
tumes and  fans.  68  movements  and  atti- 
tudes. 6 pages  music.  Two  large  photo- 
graphs of  Geisha  girl  musicians  and  dancers, 
also  full-length  photograph  of  Sada  Yacco, 
the  only  Japanese  actress.  10  photographs. 

Jesus,  Lover  of  My  Soul.  $.50.  10  min.  i to 

12?.  This  famous  hymn  illustrated,  by  poses 
grouped  in  artistic  design,  printed  in  colored 
ink  on  heavy  enameled  paper,  16  x 23  inches, 
suitable  for  framing;  ornament  for  home, 
studio,  Sunday-school,  hall,  etc.  17  photos. 

Last  Rose  of  Summer.  $.35.  to  min.  1 or 
many  f.  Poem  by  T.  Moore.  1 2 photos. 

Lead,  Kindly  Light.  $.25.  1 or  many  f.  Car- 

dinal Newman’s  great  hymn.  Cardinal’s  por- 
trait. 9 photographs. 

Leah,  the  Forsaken.  $.35.  Curse  Scene.  5 
min.  Jewish  costume.  Jewish  girl,  betrayed 
and  cast  off  by  gentile  lover,  is  drawn  back 
to  him;  on  passing  a church  she  listens  to 
the  music,  but  her  softened  heart  turns  to 
stone  and  her  words  to  curses  when  she  learns 
the  wedding  music  is  for  him.  11  photos. 


PANTOMIMES  AND  ILLUSTRATED  READINGS  CONTINUED  ON  3d  COVER  PAGE 


ORIGINAL  RECITATIONS  AND  LESSON-TALES. 


1 49 


FLIBBERTYGIBBET  AND  ME. 


lyjOIINT  Flibbertigibbet?  Of  course,  Ben;  don’t  I know  horse 
11  and  tricks  full  well? 

Neivous?  Well  yes  a mere  trifle,  when  I think  how  my  husband  fell 
Here  m this  self-same  old  ring,  Ben,  and  a little  one  ten  days  old 
prying  at  home  for  his  mother.  But— there— everything’s  pawned  or  sold. 
W aiting  nieant  starving  together,  while  my  Jack,  poor  boy,  kept  his  bed, 
.tell  in  this  ring— broke  his  leg,  Ben ; so— give  the  old  horse  his  head. 


Wh-e-w!  old  Kentuck's  tricksy  wind  courses  still  in  your  veins,  my  Flip 
Thrilling  me  now,  as  it  thrilled  me  then,  ’neath  my  pulsing  bareback 

No  no,  old  horse,  I’ve  forgotten  not  the  gold  earned  in  auld  lang  syne- 
bisten,  my  Flip,  we  must  win  some  more,  for  precious  baby  mine 
Whoop-la!  Ben,  have  they  put  up  the  bars?  I am  ready  now f don’t 
you  see? 

Whoop-la!  higher;  whoop-la!  higher,  higher  still,  for  Flibbertygibbet 
and  me.  J & 


III. 

N£,y’  ringhite  f6ather  ^ me’  OW  fnend’  C°me’  nlount’  and  we’n  tr>' the 

You-you  and  I together,  Ben,  in  our  old-time  dare-devil  fling 
Ha!  ha!  why  so  tragic  the  glances  you  cast  upon  me? 

Fear  you  the  green-eyed  monster  will  rouse  my  poor  Jack  to  see? 

Wh  1 fi'l,  5<,’U  re  realiy  <iuakinK.  Ben,  for  “ fearless  mountain  Joe,” 
Who  left  her  home  in  the  old  blue  grass  to  follow  Jack  and  the  show. 


if 


IV. 

All  untrained  to  the  business,  Ben,  I got  in  on  my  western  grit; 

rowds  flocked  to  see  my  bareback  rides,  sans  either  bridle  or  bit 
Ha!  did  I squirm  just  a little  over  that  time-worn  jump? 

M<m°nt7meTd\F“PG?Ut  °/  practice-  Ben ; s’P°sin’  I do  get  a dump ! 
Mountam  Joe  knows  how  to  tumble;  away,  with  a one,  two,  three! 

Ihis  time,  you  shall  see  no  falter  in  Flibbertygibbet  and  me. 


A-s-h ! Why,  Ben,  as  they  say  in  Kentnck,  reckon  we’ve  had  a spill 
Bravely  you  caught  me,  old  comrade-speak,  Ben,  don’t  lie  there  so  still. 


150  EMMA  DUNNING  BANES’S 

Who’d  ’a1  thought  my  head  would  turn  traitor!  s’pose  I’m  not  any  too 
strong ! 

Ben,  Ben,  ()  Ben,  why  don’t  you  answer:  why  do  you  lie  there  so  long! 

You  are  hurt,  then?  a blow  from  your  mustang?  Ay,  a blow  that 
should  have  been  mine; 

But,  you  flung  yourself  down  here  to  save  me,  with  a courage  almost 
divine. 

VI. 

You’re  dying!  you  must  speak!  you  love  me!  don’t  talk;  take  a pull  at 
this  flask. 

No,  no,  do  not  speak!  do  not  tell  me;  for  Jack’s  sake  please  keep  up 
the  mask, 

Or  he’ll  hate  you  in  mad,  jealous  frenzy  you  his  tried,  true,  and  most 
loyal  friend, 

Who  gave  up  to  him  though  you  loved  me;  brace  up,  Ben,  this  isn’t 
the  end ! 

Jack  must  thank  you  for  saving  his  wife,  Ben — why,  Ben,  look  up,  Ben! 
can’t  you  see? 

A-a-h!  He’s  dead!  Ben  has  ridden  his  last  round  with  Flibbertygib- 
bet  and  me. 

— May  R.  Mackenzie. 


LESSON-TALK. 

This  is  an  episode  of  the  circus  ring,  and  during  the  second,  third, 
and  fourth  stanzas  some  bright,  swinging  strains  of  music,  such  as  are 
commonly  heard  in  the  circus  while  the  riders  are  going  around  the 
course,  could  be  introduced  with  happy  effect. 

(1)  Conversational  gestures  of  emphasis  and  location  are  to  be  used 
in  this  stanza,  a little  nervous  shrug  of  the  shoulders  and  half  turning 
away  in  line  2.  Point  out  the  circus  ring  in  line  3.  With  the  hesita- 
tion employed  in  the  last  half  of  this  line,  let  a touch  of  pathos  creep 
into  the  voice  when  speaking  of  the  “little  one.”  In  the  pauses  repre- 
sented by  the  dashes  in  line  4 make  a gesture  as  though  brushing  away 
tears  and  choking  down  emotion.  To  close  the  stanza,  give  a slight 
spring  (not  lifting  the  feet  from  the  floor,  however)  after  the  word  “ so,” 
and  raise  the  right  hand  as  you  endeavor  to  represent  the  circus  rider’s 
spring  upon  her  horse. 

(2)  Now,  if  you  have  no  music,  imagine  it,  and  let  your  action-work 
adapt  and  time  itself  to  the  merry  strains.  You  know  how  the  rider 
uses  her  hands  and  arms  to  balance  herself,  and  how  her  feet  will  move 
ceaselessly  to  and  fro  upon  the  bare  back  of  the  horse.  You  must  not 


ORIGINAL  RECITATIONS  AND  LESS  ON- TALES.  i5I 

endeavor  to  do  all  she  does,  however;  merely  to  suggest  it.  This  stanza 
is  full  of  a certain  wild,  breezy  sort  of  dash,  and  one  who  likes  a spirited 
selection  will  enjoy  studying  and  working  it  up.  Practice  before  a 
mirror.  The  only  way  you  can  convey  an  impression  of  the  horse  run- 
ning around  the  circus  ring  is  by  a subtle  pivoting  and  swaying  of  the 
torso  at  the  waist-line,  letting  the  hands  and  arms  move  in  floating 
curving  gestures  from  right  to  left,  then  back  again,  as  the  waist,  knees’ 
and  whole  torso  sympathize  in  the  pivoting,  circling  movement  before 
alluded  to.  Imagine  the  girl  upon  the  horse’s  back,  the  right  foot  for- 
ward, and  moving  ever  so  lit 1 le  to  and  fro,  as  the  hands  and  arms  wave 
m balancing  and  accommodating  the  body  to  the  supposed  motion  of 
the  horse.  Imagine  all  this  and  let  the  voice  ring  out  in  a joyous  ex- 
cited mood.  Describe  the  horse  by  gesture  and  movement  as  going  to 
the  left  during  line  3,  and  bend  toward  and  seem  to  pat  him  as  you  say 
“listen,  my  Flip,  we  must  win  some  more.”  With  head  and  torso 
turned  to  the  right  and  arms  thrown  upward,  and  voice  pealing  high 
in  excitement,  endeavor  to  picture  the  girl  as  she  jumps  through  the 
hoops.  Do  not  jump  and  overdo,  however;  always  suggest  things 
rather  than  make  any  attempt  to  actually  do  them. 

(3)  The  wild,  reckless  abandon  of  excitement  still  peals  in  the  voice 
and  is  pictured  in  the  gestures  through  the  first  four  lines.  Rippling 
mocking  laughter  begins  line  3.  In  lines  5 and  6 mood,  and  conse- 
quently voice,  changes  completely.  For  a brief  interval  the  mask  of 
merry  bravado  is  dropped  and  the  voice  lowers  and  softens  as  gleams 
of  a grave,  gentle,  sympathetic  womanhood  shine  forth. 

(4)  The  dash  and  excitement  creep  in  once  more  during  line  1 and 
still  more  m line  2.  A little  more  attention  after  the  supposed  stumble 
is  given  to  the  movement  of  the  horse  and  to  guiding  him  with  the 

lmeS  3 and  4’  In  lineS  5 and  6 rePresent  the  horse  as  going  to 
the  left  and,  throwing  the  head  saucily,  look  back  over  the  right  shoul- 
der as  you  say  “away  with  a one,  two,  three!”  Bv  looking  back  is 
meant  to  imagine  yourself  as  going  to  the  left  and  talking  to  some  one 
following,  some  one  a little  to  the  right;  then  when  you  look  back  over 
the  right  shoulder  the  facial  expression,  laughinglv  defiant,  is  fully  dis- 
closed to  the  audience. 

(5)  A touch  of  Kentucky  dialect  finishes  the  latter  half  of  line  1 
Lines  2 and  3 are  spoken  in  a dazed  manner.  The  hand  wanders  over 
the  head  and  forehead  for  action-work  in  line  3.  During  these  3 lines 
the  face  is  turned  to  the  left.  Line  4 requires  that  you  start  and  turn 
to  the  right  and  bring  out  the  words  quickly,  as  though  impelled  by 
some  intense  alarm.  On  the  words  “you  are  hurt,  then,”  drop  to  the 
left  knee  and  lean  over  the  hero  as  you  finish  the  stanza  in  an  ago- 
nized, self-reproachful  manner. 


0.  OF  ILL  LIB. 


152 


EMMA  DUNNING  BANKS'S 


(6)  Tenderness  and  sympathy  color  all  the  work  in  this  stanza,  and 
there  is  also  an  impassioned,  imploring  ring  as,  responsive  to  and 
mindful,  even  in  that  hour,  of  the  demands  of  both  wifely  and  womanly 
honor,  she  stops  the  declaration  of  love  from  the  lips  of  the  dying  man. 
The  hands  tremble  with  rigid  intensity  during  the  appeal  in  lines  2, 
3,  and  4.  A great  dread  and  fear  solemnize  the  voice  in  the  last  half  of 
line  5;  then  comes  an  expressive  pause;  then  with  sadder,  shuddering 
conviction,  bring  the  left  hand  to  the  breast  and  let  the  right  drop  de- 
spairingly as  you  say  “A-a-h!  He’s  dead.”  Rest  the  elbow  on  the  right 
knee  as  the  forehead  drops  on  the  right  hand,  after  saying  solemnly 
and  tenderly,  with  a gentle,  mournful  pathos,  “ Ben  has  ridden  his  last 
round  with  Flibbertygibbet  and  me.”  There  should  be  a curtain  fall 
if  possible  at  the  close,  to  avoid  the  necessity  of  rising  to  the  feet  before 
the  audience.  If  it  is  not  possible,  rise  after  saying  “ he’s  dead,”  and 
finish  the  stanza  standing. 


TIT  FOR  TAT. 

i. 

4 * OOD-MORNIN’,  Miss  Katie,”  said  young  Dickie  Fee; 

“ Good-mornin’  agin,  ’tis  yersilf,  shure,  I see 
Lookin’  bloomin’  as  iver,” — but  Kate  turned  away 
As  she  pouted  and  said,  “ Dick,  I’ve  no  time  to  stay. 

Ye’re  a heartless  desaiver — now,  don’t  say  a word, 

Pretty  stories  about  you  an’  that  Norah  I’ve  heard. 

Yer  know  yer  danced  wid  her  that  day  at  the  fair, 

An’  praised  her  gray  eyes  an’  her  very  red  hair; 

Yer  called  her  an  angel— said  in  love  ye  had  fell, 

An’  at  night  when  yer  parted— ye— kissed  her  as  well!  ” 

II. 

Then  young  Dickie  gave  a sly  wink  as  he  said, 

“ Jist  a whisper,  dear  Katie,  turn  yer  swate  curly  head ; 

Whist!  I desaived  her,  me  darlint ! ” “ Ye  kissed  her!  ” “ That’s  true. 
But,  ha!  ha!  I shut  both  me  eyes,  Katie,  an’  fancied  ’twas  you.” 

“ Well,  I’ve  no  time  to  stay,  so  good-by,  Dickie  Fee; 

Ye  may  desaive  her,  but  ye  can’t  desaive  me. 

I’m  not  to  be  blarneyed ; Dick,  a word  in  yer  ear, 

Ye’d  betther  be  off,  for  my  dad’s  cornin’  here.” 


ORIGINAL  RECITATIONS  AND  LESSON-TALRS.  153 

III. 

“ Oh,  yer  dad's  comm’,  is  he?  Is  that  him  I see 
Jist  a-bobbin’  behind  that  ould  buckthorn  tree? 

Why ! that’s  Paddy  McGinn ! ” “ Oh,  ” said  Kate  with  a sneer, 

“ Ye’ve  got  yer  eyes  open  at  last,  Dickie  dear; 

Well,  he’s  cornin’  to  meet  me;  just  listen,  my  lad, 

If  Paddy  should  kiss  me,  ah ! shure  now  won’t  ye  be  glad  ? 

For  when  his  lips  meet  mine,  why,  what  will  I do 
But  shut  both  me  eyes,  Dickie,  and  fancy  ’tis  you ! ” 


LESSON-TALK. 

(1)  Let  Dickie  lean  forward  somewhat  eagerly  and  admiringly  and 
speak  to  the  left.  Imperturbable  good-humor,  assurance,  and  flattery 
are  evidently  the  traits  with  which  he  expects  to  make  good  his  cause 
with  Katie.  Katie  in  answering  him  would  naturallv  speak  to  the 
right.  She  deliberately  whirls  to  the  left,  however,  and  delivers  her 
sharp  speeches,  looking  scornfully  back  at  him  over  the  right  shoulder 
In  the  pauses  represented  by  the  dashes  very  effective  work  is  done  by 
pouts,  defiant  little  nods  of  the  head,  and  a petulant  tapping  of  one 
hand  against  the  other  and  of  the  foot  upon  the  floor.  This  work  is 
quite  prolonged  at  the  close  of  the  stanza.  You  must  really  feel  that 
you  are  the  character,  and  as  an  aid  you  may  secretly  anathematize 
Dick  in  your  mind  during  the  pauses. 

(2)  Once  more  comes  Dick's  blarney.  Facial  expression  of  intense 
astonishment  precedes  Kate’s  “ you  kissed  her;  ” then  in  mellow  laugh- 
ing accents  comes  Dick's  triumphant  explanation.  A mocking  courtesy 
is  made  on  the  words  “ye  can’t  desaive  me.”  Straighten  up  on  the 
words  “ I’m  not  to  be  blarneyed ; ” then  with  one  or  two  light  steps  dart 
to  the  right,  as  though  to  stay  Dick’s  steps,  and  say  “ Dick,  a word  in 
yer  ear.”  Point  out  the  father  to  the  left  with  left  hand. 

(3)  Let  Dick  shade  his  eyes  with  the  right  hand  and  bend  from  side 
to  side,  in  his  endeavor  to  recognize  the  fellow  who  is  dodging  behind 
the  tree.  His  fist  clinches  involuntarily  as  in  an  explosion  of  verified 
indignant  suspicion  he  cries,  “ Why ! that’s  Paddv  McGinn ' ” Now  comes 
Kate’s  moment  of  triumph,  and  with  her  mocking  merriment  she  makes 
the  most  of  it;  nothing  could  be  more  coaxingly  aggravating  than  her. 

ah,  shure  now  won’t  ye  be  glad.”  Throughout  the  pauses  and  words 
she  endeavors  to  show  by  action,  facial  expression,  and  voice  the  most 
decided  taste  for  the  attention  of  Paddy  McGinn,  and  leaves  no  doubt 
that  she  enjoys  her  little  play  of  “ Tit  for  Tat,” 


ACTING  MONOLOGUES 

BY  LIVINGSTON  RUSSELL, 

ENGAGED.  Price,  25  cents. 

Romantic,  humorous  monologue  for  a woman.  A young  woman,  who  has 
just  become  engaged,  calls  her  departing  lover  back  several  times,  and  then 
falls  Into  a gushing  and  hysterical  reverie.  She  sorts  over  her  love-letters, 
plans  how  their  room  will  be  arranged,  and  runs  off  stage  singing  theLohen- 
grln  Wedding  March.  Full  business  given. 

CUPID'S  VICTIM  ; or  the  TIMID  MAN.  Price,  25c. 

Humorous  monologue  for  a man.  A bashful  man  reads  up  on  courting  and 
practices  before  a dummy  girl.  Very  full  business  given.  Three  illustrations. 

AN  IMPECUNIOUS  ACTOR.  Price,  25  cents. 

Humorous  monologue  for  a man,  describing  the  tribulations  of  a stage- 
struck  youth  who  goes  Into  raptures  over  his  “ art,”  etc. 

THE  CLIMAX  OF  A CRIME.  Price,  25  cents. 

Tragic  monologue  for  a man.  Old  man  make-up.  A murderer,  having  gone 
into  a hole  to  bury  his  victim,  is  shut  in  and  can  not  escape.  He  goes  mad 
in  his  living  tomb;  his  various  victims  appear  before  him,  and  he  finally 
stabs  himself.  Complete  business  and  stage-directions. 

THE  DEATH  DREAM.  Price.  25  cents. 

Intensely  dramatic  monologue  for  a man,  from  the  play  “ The  Bells,”  played 
by  Sir  Henry  Irving.  An  inn-keeper,  who  is  also  the  burgomaster,  murders 
a guest  for  gold  and  burns  the  body  in  a lime  kiln.  On  his  daughter’s  wed- 
ding-night he  in  a dream  goes  through  all  the  minutiae  of  the  murder, 
passes  through  terrible  suffering  and  dies.  Five  full-page  illustrations. 
Full  business. 

THE  ° COMING  OUT"  OF  MISS  CUMMINGS.  25c. 

A breezy  and  humorous  monologue  for  a woman.  An  up  to-date  “ bud  ” of 
seventeen,  from  the  West,  makes  her  d6but  in  New  York.  She  does  not  take 
kindly  to  society’s  ways  and  to  the  addresses  of  the  stylish  men,  bat  i refers 
Montana  ways  and  “Jimmie,  of  Missoula  Gulch.”  Affords  opportunity  to 
Introduce  various  specialties.  Full  directions  for  stage,  and  full  business. 
Three  full-page  illustrations. 

THE  GREEN-EYED  MONSTER.  Price,  25  cents. 

Humorous  monologue  for  a woman.  An  actress,  in  making  ber  d6but, 
misses  the  presence  of  her  lover,  and  has  a fit  of  jealousy  and  of  the  blues. 
Ends  happily.  Affords  opportunity  for  varied  expressional  work. 

FOR  GOD  AND  COUNTRY.  Price,  25  cents. 

Historical,  patriotic,  and  tragic  monologue  for  a woman.  A lied  Cross  nurse 
describes  the  scenes  on  the  battle-field  at  Santiago.  Refers  to  Gen.  Wheeler 
and  to  Col.  Roosevelt.  Unusually  elaborate  directions  for  producing  various 
war-effects,  and  full  business.  (Every  reciter  should  have  this  monologue 
for  the  valuable  stage-lessons  it  gives,  even  the  ugh  he  does  not  care  for  the 
monologue  itself.)  Three  full-page  illustrations.  Costume  of  a Red  Cross 
nurse. 

VIVA  CUBA  LIBRE!  Price,  25  cents, 

A patriotic  monologue  for  a woman.  A dramatic  setting  of  incidents  con- 
nected with  the  patriotic  daring  of  Paulina  de  Ruiz  Gonzales— the  Joan  of 
Arc  of  Cuba;  together  with  the  introduction  of  historical  matter  regarding 
the  sufferings  of  the  Cubans  during  the  struggle  for  liberty. 

JUST  LIKE  ONE  OF  THE  FAMILY.  Price,  25  cents. 

William  Handy,  living  with  friends  but  considered  “ just  like  one  of  the 
family,”  is  asked  to  look  after  the  house  during  the  absence  of  his  host  and 
hostess  on  a call.  He  promises  himself  a quiet  evening  of  intellectual  en- 
joyment, but  is  aroused  first  by  the  frantic  bawling  of  their  baby,  by  the 
i entrance  of  the  coalman  and  by  the  cries  of  their  pet  cat,  dog  and  parrot. 


When  upon  the  verge  of  nervous  collapse,  his  friends  return, 
humorous. 

Any  of  th§  above  sent  post-paid,  on  receipt  of  the  price. 


Intensely 


A Text-Book  for  Re- 
quirements of  20th 
Century  Elocution 


Used  by  many  of  the 
Leading  Schools  in 
English-Speaking 
America 


ELOCUTION 

AND 

ACTION 

BY 

F.  Townsend  Southwick 


Lessons  are  in  sequential  order  and  furnish 
a TRUE  EVOLUTION  OF  EXPRESSION 

Book  gives  an  up-to-date  method  of  teaching  expression, — 
of  training  body  and  voice  to  express  whatever  thoughts  are 
within  the  person  to  express.  No  book  equals  this  in  con- 
ciseness, comprehensiveness,  directness,  — in  being  the 
representative  of  the  “new  elocution,”  in  contradistinc- 
tion to  the  old,  artificial,  superficial,  mechanical  elocution. 
Complete  in  itself  and  makes  another  book  unnecessary. 


Recitations  for  Practice  in  Connection  with  the  Lessons 

>TAdaums»an^^efferson’”  “Against  Whipping  in  the  Navy,”  “Alexander  Ypsilanti,”  “Battle  of 
Naseby,  Bells  of  Shandon,”  “Brutus  on  the  Death  of  Caesar,”  “Chambered  Nautilus,” 
Charge  °Uhe  Light  Brigade,  “ Christmas  Party  at  Scrooge’s  Nephew’s,”  “ Dedication  of 
Gettysburg  Cemetery,  Discontented  Pendulum,”  “Duel,”  “Echo  and  the  Ferry,”  “Facilis 
Uescensus,  Fox  at  the  Point  of  Death,”  “Hamlet’s  Instruction  to  the  Players”  “ Herve 
nr  >>e"Lof  the  French  Camp.”  “Langley  Lane,”  “Leper,”  “Little  Stowaway,”  “Man 
in  the  Moon,  Marmion  and  Douglas”  “Mice  at  Play,”  “Mont  Blanc  Before  Sunrise,”  “Origin 
?4 Roast  Pig,  Owl  and  the  Bell,”  'Owl  Critic,”  “Palmer’s  Vision  ” rr‘-*  -r  ~ ** 

Portia  s Speech  on  Mercy.”  “Prodigal  Son,”  “Reading  for  the  Thought,’ 

Caesar,”  Scene  from  r”  " - - _ 


Plajn  Tale  of  1893,’ 
“Scene  from  ‘Julius 


“c  ".  j j Thf  Rivals,  Star  Spangled  Banner,”  Supporting  the  Guns,” 

TW^  P id  L°  “V  Sy™Pathy  with  the  Greeks,  Selection  from  ‘A  Tramp  Abroad,’  ” “Twenty- 
Third  Psalm,”  Two  Views  of  Christmas,”  “Wind  and  the  Moon.” 

Also  Other  Selections 

“Destruction  of  Sennacherib.”  “Forging  of  the  Anchor,”  “France  and  Rocham- 
beau.  Fugitives,  Good  Courage,  Great  Schools  of  the  World.”  "Hand-Car  412.”  “Hunt- 
Oue?£nn’”  ^T°Td  LlstAn-  ’ “V™.  With  You  Once  Again,”  “Issues  of  the  Transvaal 

‘Wd  FrL  » ‘^urtyt-j  Lill5s  alQl,^sn,Ga^de"s-  March  of  Company  A,”  “Mince  Pies,” 
TriiJ-J  Other  Side  of  the  Case,”  Plea  for  Cuban  Liberty,”  “Religion  of  Trooper  Peter 

GWfVw  R°in,f  Carthage  Sermon  on  the  Mount,”  “Shylock  to  Antonio.”  “Song  of  the 
“ Whinhp4^ew-ii  °f  Span’s  Career.”  “Tea-kettle  and  the  Cricket.” 

Whip-Poor-Will,  William  McKinley,  You  Never  Can  Tell. 

WELL  PRINTED  AND  BOUND  IN  CLOTH.  75  CENTS,  NET 


Entertainment  Novelties 


Aladdin;  or,  The  Wonderful  Lamp. 

35c.  i hour  or  more  (according  to  specialties 
introduced).  H.  E.  Hard  and  Stanley  Schell. 
Romantic  juvenile  play.  Any  number. 
Chinese  costumes,  recitations,  and  ‘‘Little 
Ting-a- Ling’s  March,  Drill  and  Song.  ’ 

At  the  Golden  Gates.  $1  • is  min. 

Poem  by  Father  Ryan;  pantomime  by 
Helen  Schuster.  Pantomimed  song  telling 
of  a day  when  the  soul  shall  reach  great 
heights,  Full  music  and  directions  and  23 
photos. 

Dance  of  Mist  Maiden.  $1.  10  min. 

Greek  costume  dance  and  pantomime,  with 
full  directions  by  Cozette  Keller,  bringing  in 
Daphne  and  Apollo.  Full  music  and  12 
photos. 

English  Hussars’  March.  50c.  IS  min. 

G.  D.  Bishop.  Military  march  or  drill,  16  m. 
or  f.  Uniforms,  swords.  Suitable  for  dances, 
schools,  etc.  Full  directions,  diagrams,  and 
music. 

Fairy  Revel  and  Rainbow  Tableau. 

35c.  15  min.  H.  Lottner.  Musical  enter- 

tainment, with  drill,  drama,  tableaux,  musi- 
cal recitation,  etc. 

Fete  in  Flowerland.  40c.  x hour. 

A.  E.  Allen.  Flower  operetta  for  any  number 
of  children.  Flowers  sing  and  act  out  thoughts 
in  songs.  Full  directions  and  music. 

Hu-man-o=phone ; or,  Human  Music 
Sheet.  75c.  30  min.  or  longer  if  desired. 

Stanley  Schell.  Burlesque  musical  enter- 
tainment. Faces  peep  through  note-holes  in 
musical  staff  on  sheet.  Full  directions  and 
music. 

Japanese  Fantastics.  75c.  2o  min. 

Japanese  costume  pantomime  and  drill.  68 
movements  and  attitudes.  Two  large  group 
photos  of  Geisha  girls,  10  attitude  photos, 
portrait  of  Sada  Yacco  (famous  Japanese  ac- 
tress). and  full  music. 

LotoS=EaterS.  50c.  30  min.  Poem  by 

Tennyson ; pantomime  by  Myra  Pollard. 
3 f.  or  any  number  of  groups  of  3 f.  Greek 
costumed  pantomimed  poem.  Schumann’s 
“Slumber  Song”  and  is  photos.  Original 
landscapes  and  borders.  Printed  in  3 colors. 

Molly’s  Pre-Nuptial  Flirtation.  $1. 

30  min.  Poems  by  G.  A.  Baker;  poses  and 
directions  by  Cozette  Keller.  Society  costume 
verse  monologue  in  four  scenes  (one  or  all 
may  be  given).  Can  be  given  by  woman  or 
by  a man  as  burlesque.  Full  directions  and 
13  photos. 


National  Ball-Room  March.  50c. 

10  min.  G.  D.  Bishop.  Any  number  of 
couples.  Picturesque  march  and  novel  figures 
for  ball-room  or  parlor.  Full  directions  and 
diagrams. 

Needles  and  Pins.  50c.  5 min. 

Pantomimed  song  or  dialogue,  1 m.  1 f..  or 

2 f.  Full  music,  directions,  and  6 photos. 

Proserpina.  50c.  1 hour.  M.  Lawton. 

Mythological  operetta.  5 scenes.  Any  num- 
ber. Greek  myth  giving  origin  of  Summer 
and  Winter.  Introduces  “Dance  of  the 
Nymphs."  Full  directions  and  music. 

Pussies’  Parliament.  35c.  30  min. 

Humorous  cat  concert.  5 children  or  5 groups 
of  children,  costumed  as  cats.  Full  direc- 
tions and  music. 

Rock  Me  to  Sleep.  50c.  TO  min. 

Poem  by  Elizabeth  Akers,  pantomime  by 
Lucy  Harris.  Pantomimed  song.  Full  music 
and  10  photos. 

Sailors’  Entertainment.  25c.  s. Schell. 

Musical  entertainment.  1 hour.  Any  num- 
ber m.  and  guests.  Ship-deck  scene.  Oars, 
ropes,  barrels,  horns  required.  Each  of  the 

3 scenes  may  be  given  separately.  Includes 
drills,  marches,  hornpipes,  solos,  recitations. 

Santa  Claus.  40c.  ij  hours.  W.  C. 
Ellis  Children’s  operetta;  2 scenes,  1 adult, 
7 children  and  fairies.  Full  directions  and 
music. 

St.  Valentine’s  Day  Program.  35c. 

1 hour.  H.  C.  Waterhouse.  Musical  enter- 
tainment. Any  number.  Songs,  recitations, 
dialogues,  etc.  Full  directions  and  music. 

Tableaux  Mouvants  & Poses  Plas= 
tiques  No.  2.  25c.  M.  V.  Jenkins,  J.  E. 

MacLean.  Contains  statue-pose  groups: 
“Birds  Singing  Gaily,”  “Charm  from  the 
Skies.’  “Cupid’s  Captives,”  “Dance  of  the 
Flowers,"  “Diana’s  Hunting  Party."  “Fare- 
well to  Home,”  “Heavenly  Home,”  “In 
Sight  of  Home,”  “Revel  of  the  Muses,”  “Study 
in  Attitude,"  “Sun  Worshippers,”  “Wise  and 
Foolish  Virgins.” 

Ten  Little  Nigger  Boys.  25c.  Comedy 

negro  drill  and  action  song.  10  min.  Full 
directions  and  music. 

Venetian  Flower  Dance.  50c.  i5 

min.  G.  D.  Bishop.  Spectacular  dance 
or  drill,  with  garlands  on  flower-covered 
hoops.  24  f.  Full  directions,  diagrams,  and 
music. 

Yellow  Peril.  $1.  i£  hours.  Words 
by  A.  R.  Caldwell;  music  by  A.  L.  Nance. 
Comic  opera.  3 acts,  7 m.,  3 f.,  or  all  f.  Deals 
with  late  Russo-Japanese  war.  Complete 
words  and  music. 


PANTOMIMES  AND  ILLUSTRATED 

Continued  from  Second  Cover  Page 


READINGS 


Listening  Ear  of  Night.  $.25.  io  min  i or 

many  f Poem  by  E.  H.  Sears.  Christmas 
caroi.  Celestial  choirs  and  angels  fill  the  ai** 
with  harmonies  which  fall  on  the  “listening 
ear  of  night.”  Hills  of  Palestine  send  back 
a glad  reply,  while  over  Galilee  comes  a holier 
calm.  7 photographs. 

Lotos^Eaters.  $.50.  3o  min.  3f.  Poem  by 
Tennyson.  Grecian  warriors,  returning  from 
Trojan  war,  stop  at  the  lotos  land,  eat  of  the 
lotos,  become  indolent,  and  lose  desire  to  re- 
turn home.  May  be  given  by  three  girls,  or 
any  number  of  groups  of  three.  Portrait  of 
Tennyson.  Schumann’s  “Slumber  Song” 
given.  15  photographs. 

Maud  Muller.  $.25.  to  min.  Poem  bv  Whit- 
her. Portrait  of  Whittier,  also  cuts  of  his 
birthplace  and  residence.  5 photographs. 

My  Faith  Looks  up  to  Thee.  $.35.  10  min.  r 

or  more  f.  May  be  given  by  children  or  adults. 
17  photographs. 

My  Mother’s  Bible.  $.35.  8 nun.  Poem  and 

pantomime  by  Mrs.  F.  W.  Pender.  Tells  of 
lessons  learned  from  mother  and  the  love 
daughter  bears  for  mother’s  Bible,  from 
which  those  lessons  were  taken.  r3  photos. 
Nearer,  My  God  to  Thee.  $.50.  10  min  r or 

more  f.  Printed  in  artistic  design  in  two 
colors  on  heavy  enameled  paper,  17x25 
inches  suitable  for  framing,  making’ an  orna- 
ment for  home,  studio,  Sunday-school,  hall, 
etc.  Pictures  show  how  to  jiantomime  the 
hymn  without  other  instruction.  22  photos. 
Old  Folks  at  Home.  $.25.  10  min.  if  or 

many.  Poem  by  S.  Foster.  Known  also  as 
Swanee  River.”  Famous  pathetic  negro 
ballad.  1 5 photographs. 

Paradise  and  the  Peri.  $.35.  From  “Lalla 
Rookh.  Thomas  Moore.  Pantomimed 
Poem,  with  Lesson-Talk.  15  min.  1 or 
many  f.  Persian  myth  of  fallen  angel  regain- 
ing heaven  by  bringing  from  earth  a tear  of 
repentant  mortal.  10  photographs. 

Poses_  Plastioues  for  the  Little  Ones.  No.  I. 
$.25.  Expression  Studies.  3o  min.  1 or 
many.  Pantomime  of  Pleading,  Triumph 
Meditation,  Despair,  Defiance,  Sorrow,  Fright’ 
Dancing,  Secrecy,  Mirth,  Listening,  Watch- 
ln.g-  Pantomiming  may  be  done  bv  one  set 
of  children,  while  singing  is  done  by  another 
set.  1 1 photographs. 

Pro  Patria.  $.35.  Patriotic  Prose  Recitation 
with  Lesson-Talk  by  Ada  Ammerman.  15’ 
min.  Revolutionary  War  storv  of  girl  re- 
jecting her  British  captain  lover,  and  by 
daring  horse-back  ride  carrying  orders  from 
Washington  to  Lee  pending  battle  at  Tren- 
ton. 9 photographs. 

Rizpah.  $.25.  15  min.  1 or  many  f.  Poem 

by  L.  Bhnn . Bible  story,  II.  Samuel  xxi, 
I711-  Mother  guards  from  beasts  and  Birds 
of  prey  for  days  dead  bodies  of  her  sons,  given 
by  King  David  for  atonement  for  ' Saul's 
slaughtering  the  Gibeonites.  After  her  boys 
are  buried  the  mother  is  crazed  and  dies 
crooning  to  and  rocking  an  imaginary  child. 

8  photographs. 


Address  the  Publishers,  EDGAK  S. 


Rock  Me  to  Sleep.  $.50.  10  min.  if.  or  manv. 

Poem  by  Elizabeth  Akers.  With  hints  tor 
posing  and  photographing  poses.  10  photos. 
Rock  of  Ages.  $.25.  10  min.  Any  number, 

famous  hymn  pantomimed.  An  illustration 
tor  tableau-shipwrecked  girl  clinging  to  a 
cross  m mid-ocean  is  also  given.  1 2 photos. 
Romance  of  the  Ganges.  $.25.  3o  min.  7f. 
Poem  by  E.  B.  Browning.  Seven  maidens 
set  afloat  little  boats  with  lighted  lamps — if 
the  light  holds  out,  love  will  endure.  One  of 
the  lights  goes  out  and  its  owner  jumps  into 
the  river.  14  photographs. 

Rory  O’More.  $.35.  Irish  dialect.  15  min 
im.  if.  Poem  by  S.  Lover.  Peasant  cos- 
tume. Scene  between  sauev  lover  and  co- 
quettish girl,  he  kissing  her  eight  times  and 
then  taking  another,  as  “there  is  luck  in  odd 
numbers.  6 photographs. 

Rosalind’s  Surrender.  $.25.  Patriotic,  Roman- 
tic Monologue  for  a Woman,  by  Pauline 
Phelps.  15  min.  Virginia  girl,  whose  ances- 
tors fought  for  the  Stars  and  Stripes  waves 
during  Civil  War,  Union  flag  as  her  Union 
lover  goes  by.  6 photographs. 

Royal  Princess.  $.25.  15  min.  if.  Poem  by 

C.  G.  Rossetti.  Princess,  surfeited  with  lux- 
uries and  restless  under  restraints  of  ro\al 
position,  shows  she  has  a humane  heart,  and 
oders  to  surrender  her  jewels  in  order  to  give 
bread  to  the  starving  people.  11  photographs. 
Rubaiyat.  $.35  15  min.  r or  many.  Some 

ot  the  thoughts  from  this  famous  Persian 
poem  illustrated  by  poses  from  life.  1 o photos 
Scarlet  Letter.  $ 25.  Dramatic  Tragic  Pathos 
Recital,  by  N.  Hawthorne,  ij  hours.  This 
famous  American  classic  colonial  (Puritan) 
novel,  abridged  and  arranged  for  entire  en- 
tertainment. Any  one  of  seven  scenes  may 
be  given  separately.  6 photographs. 

Seven  Times  One  $.35.  15  min.  Poem  by 

. Jean  Ingelow.  Unusually  daintv  and  poetic 
child  entertainment.  3 photographs. 

Sissy  Hawkins.  $.25.  Farcical  Yankee  Dialect 
Character  Sketch  Acting  Monologue,  by 
Stanley  Schell.  10  mm.  Awkward,  simple- 
minded,  country  girl,  in  going  to  a new-comer 
to  borrow  things,  talks  about  herself  and 
neighbors.  Opportunity  for  outlandish  cos- 
tume dancing  and  playing  on  mouth-organ 
10  photographs. 

Soul  of  the  Violin.  $.35.  20  min.  Starvino 

musician  m taking  final  farewell  of  long" 
cherished  violin,  which  he  refuses  to  sell  for 
bread,  reviews  the  past,  living  over  again  a 
romance,  and  both  he  and  the  violin  go  to 
pieces  together.  Opportunity  for  violin  effects 

9 photographs. 

Star=SpangIed  Banner.  $.35.  10  min  1 or 

many  f.  Poem  by  F.  S.  Key.  10  photos. 
Where  Are  You  Going,  My  Pretty  Maid?  $.35. 

10  nun.  im.,  if.  Last  century  costumes — 
girl  as  country  maiden,  man  as  eitv  swell 
Man  takes  back  proposal  on  learning  girl  has 
nu  money,  she  retorting  that  nobod v asked 
him  to  marry  her.  7 photographs. 


WERNER  & COMPANY,  NEW  YORK 


A Text-Book  tor  Re- 
quirements of  20th 
Century  Elocution 


ELOCUTION 

AND 

ACTION 


BY 


F.  Townsend  South  wick 


Used  by  mdny  of  the 
Leading  Schools  in 
English -Spea  king 
America 


Lessons  are  in  sequential  order  and  furnish 
a TRUE  EVOLUTION  OF  EXPRESSION 


Book  gives  an  up-to-date  method  of  teaching  expression,— 
of  trainingbody  and  voice  to  express  whatever  thoughts  are 
within  the  person  to  express.  No  book  equals  this  in  con- 
ciseness, comprehensiveness,  directness,  — in  being  the 
representative  of  the  “new  elocution,”  in  contradistinc- 
tion to  the  old,  artificial,  superficial,  mechanical  elocution. 
Complete  in  itself  and  makes  another  book  unnecessary. 

Recitations  for  Practice  in  Connection  with  the  Lessons 

"Adams  and  Jefferson.”  “ Against  Whipping  in  the  Navy”  •■Alexander  Ypsffanti”  “Battle  of 
Naseby,”  “ Bells  of  Shandon.”  Brutus  on  the  Death  of  Cssar.  Chambered  Nautilus, 

" Charge  of  the  Light  Brigade,”  “ Christmas  Party  at  Scrooge  s Nephew  s.  Dedication  of 
Gettysburg  Cemetery ” Discontented  Pendulum,”  ‘ Duel,  Echo  and  the  Ferry, ^ Facilis 
~ “ “Fox  at  the  Point  of  Death,”  "Hamlets  Instruction  to  the  Players,  Herve 


Descensus, 


Riel.”  "Incident  of  the  French  Camp,”  “Langley 'Lane.”  "Leper.  Little pStowaway,4  Ma, 

in  the  Moon,”  "Marmionand  Douglas,”  ‘‘Mice  at  Play,,  Mont  Blanc  Before  Sunrise  Origii 
of  Roast  Pig”  "Owl  and  the  Bell,  Owl  Critic,  Palmers  Vision.  Plain  1 ale  of  1893. 
“Portia’s  Speech  on  Mercy.”  “Prodigal  Son.”  “Reading  for  the  Thought,  Scene  from  Julius 
Caesar  ’ ” ‘*Scene  from  ‘ The  Rivals,’  Star  Spangled  Banner  Supporting  the  Guns, 
“Sweet  and  Low,”  “Sympathy  with  the  Greeks.”  “Selection  from  A Tramp  Abroad,  Twenty- 
i — 1 — »>  \ti .......  n,.icfmoc  ” Wind  and  the  Moon. 


Third  Psalm, 


‘Two  Views  of  Christmas, 

Also  Other  Selections 


“Americanism,”  "Destruction  of  Sennacherib.”  “Forging  of  theAnchor,”  “France  andRocham- 
beau  ” “Fugitives  ” “Good  Courage,  Great  Schools  of  the  World.  Hand-Car  4*2.  Hunt- 
ing Song,”  “If  Mother  W^ould  Listen.”  “I’m  With  You  Once  Again,  Issues  of  ^ Transvaal 

Ouestion  ” “Liberty,”  “Lilies  at  Queens  Gardens.  March  of  Company  A,  Mince  Pies, 
H)ld  Flag.”  “Othe/side  of  the  Case,”  “Plea  for  Cuban  Liberty,  Religion  Trooper  Peter 
Halket,”  ‘‘Rome  and  Carthage.”  “Sermon  on  the  Mount,  Shylock  to  Antonio,  Song  of  the 
Chattahoochee,”  “ Speech  of  Black  Hawk,”  Sultan  s Career, 

“ Whip-Poor-Will,”  “William  McKinley,” 

75  CENTS,  NET 


“Tea-kettle  and  the  Cricket,’ 


‘You  Never  Can  Tell.” 

WELL  PRINTED  AND  BOUND  IN  CLOTH. 


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cution and  Action”  in  exchange  for  every 
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hand, provided  the  book  is  not  mutilated  or 
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